Delia Carmela Chiaro
2020
Chiaro, Delia Carmela
Humour translation in the digital age Book Chapter
In: pp. 10-30, Humour Translation in the Age of Multimedia, 2020, ISBN: 9780429316081.
@inbook{Chiaro2020,
title = {Humour translation in the digital age},
author = {Delia Carmela Chiaro},
doi = {10.4324/9780429316081-2},
isbn = {9780429316081},
year = {2020},
date = {2020-09-23},
pages = {10-30},
publisher = {Humour Translation in the Age of Multimedia},
abstract = {Smart technology has simplified communication between people around the world in a way that would have been unimaginable even as recently as recently as 2010. A consequence of this newly found ease of communication between speakers of different languages, who are separated only by a keyboard and a screen, has led to the strengthening of the role of English as a common and international language. It therefore follows that many instances of humour online appear to originate in English. In fact, the prominence and social standing of English today makes it the primary language of online humour by default. Internet memes, which seem to have overtaken traditional jokes as humorous tropes in everyday interaction, mostly come from Western sources, or more precisely from templates based on fragments of US culture. It thus follows that more English humour undergoes translation into other languages, and therefore goes viral, than vice versa. It is unusual for humour from other languages/cultures to go viral when the sources of global humour epidemics are principally disseminated from English language sources. The verbal and cultural options upon which online humour is created are identical to those that exist in the real world and so are translational strategies. There is no reason not to translate humour in languages other than English, but at present there does not appear to be the will to do so.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
Smart technology has simplified communication between people around the world in a way that would have been unimaginable even as recently as recently as 2010. A consequence of this newly found ease of communication between speakers of different languages, who are separated only by a keyboard and a screen, has led to the strengthening of the role of English as a common and international language. It therefore follows that many instances of humour online appear to originate in English. In fact, the prominence and social standing of English today makes it the primary language of online humour by default. Internet memes, which seem to have overtaken traditional jokes as humorous tropes in everyday interaction, mostly come from Western sources, or more precisely from templates based on fragments of US culture. It thus follows that more English humour undergoes translation into other languages, and therefore goes viral, than vice versa. It is unusual for humour from other languages/cultures to go viral when the sources of global humour epidemics are principally disseminated from English language sources. The verbal and cultural options upon which online humour is created are identical to those that exist in the real world and so are translational strategies. There is no reason not to translate humour in languages other than English, but at present there does not appear to be the will to do so.
Chiaro, Delia Carmela
Audiovisual Translation Journal Article
In: The encyclopedia of applied linguistics, pp. 1-6, 2020.
@article{Chiaro2020b,
title = {Audiovisual Translation},
author = {Delia Carmela Chiaro},
doi = {10.1002/9781405198431.wbeal0061.pub2},
year = {2020},
date = {2020-06-15},
journal = {The encyclopedia of applied linguistics},
pages = {1-6},
abstract = {Audiovisual translation (AVT) refers to the transfer from one language to another of the verbal components contained in audiovisual works and products. Because audiovisual materials are meant to be seen and heard simultaneously, their translation is different from translating print. Written works are primarily meant to be read whereas audiovisual works are typically watched and listened to. Audiovisual products are often but not always created with the support of technological apparatus, and their translations are also created and accessed through one or more electronic devices. The main modalities for screen translation of fictional products are dubbing and subtitling. The aim of dubbing is to make the translated dialogue appear as though it is being uttered by the actors. Subtitles are an abbreviated written translation of what can be heard on screen. Fansubbing, considered a forerunner of crowdsourced translation, arose in response to the dissatisfaction of fans with what they considered inadequate dubbing and subtitling of TV series. Fans took on the translation job themselves. Audiovisual translation plays an important role in making audiovisual materials accessible to all.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
Audiovisual translation (AVT) refers to the transfer from one language to another of the verbal components contained in audiovisual works and products. Because audiovisual materials are meant to be seen and heard simultaneously, their translation is different from translating print. Written works are primarily meant to be read whereas audiovisual works are typically watched and listened to. Audiovisual products are often but not always created with the support of technological apparatus, and their translations are also created and accessed through one or more electronic devices. The main modalities for screen translation of fictional products are dubbing and subtitling. The aim of dubbing is to make the translated dialogue appear as though it is being uttered by the actors. Subtitles are an abbreviated written translation of what can be heard on screen. Fansubbing, considered a forerunner of crowdsourced translation, arose in response to the dissatisfaction of fans with what they considered inadequate dubbing and subtitling of TV series. Fans took on the translation job themselves. Audiovisual translation plays an important role in making audiovisual materials accessible to all.
Chiaro, Delia Carmela
A rich sauce of comedy: Talking and laughing about Italian food in digital spaces Book Chapter
In: Chapter 11, pp. 211-233, John Benjamins, 2020.
@inbook{Chiaro2020bb,
title = {A rich sauce of comedy: Talking and laughing about Italian food in digital spaces},
author = {Delia Carmela Chiaro},
doi = {10.1075/impact.47.11chi},
year = {2020},
date = {2020-06-15},
pages = {211-233},
publisher = {John Benjamins},
chapter = {11},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
2019
Chiaro, Delia Carmela
Europe with love: Woody Allen’s liquid society Book Chapter
In: Chapter 8, pp. 170-187, 2019.
@inbook{Chiaro2019,
title = {Europe with love: Woody Allen’s liquid society},
author = {Delia Carmela Chiaro},
doi = {10.1075/btl.148.08chi},
year = {2019},
date = {2019-08-06},
pages = {170-187},
chapter = {8},
abstract = {Between 2008 and 2012, Woody Allen directed three films that have come to be known as his “European trilogy”, namely Vicky Cristina Barcelona (2008), Midnight in Paris (2011) and To Rome with Love (2012). Each storyline involves the temporary relocation of one or more north-American protagonists to the European city in the title, in which, as well as complicated trysts, we find displaced characters who undergo a great deal of culture shock as they clash and merge with the experiences of a foreign locale and, of course, a different language. This chapter will examine the trilogy from the perspective of Allen’s technical recreation of lingua-cultural otherness in his non-American characters in the original version of each film.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
Between 2008 and 2012, Woody Allen directed three films that have come to be known as his “European trilogy”, namely Vicky Cristina Barcelona (2008), Midnight in Paris (2011) and To Rome with Love (2012). Each storyline involves the temporary relocation of one or more north-American protagonists to the European city in the title, in which, as well as complicated trysts, we find displaced characters who undergo a great deal of culture shock as they clash and merge with the experiences of a foreign locale and, of course, a different language. This chapter will examine the trilogy from the perspective of Allen’s technical recreation of lingua-cultural otherness in his non-American characters in the original version of each film.
Chiaro, Delia Carmela; Bonis, Giuseppe De
An Austrian in Hollywood: The representation of foreigners in the films of Billy Wilder Journal Article
In: European Journal of Humour Research, vol. 7, no. 1, pp. 7 page, 2019.
@article{Chiaro2019b,
title = {An Austrian in Hollywood: The representation of foreigners in the films of Billy Wilder},
author = {Delia Carmela Chiaro and Giuseppe De Bonis},
doi = {10.7592/EJHR2019.7.1.chiaro},
year = {2019},
date = {2019-05-21},
journal = {European Journal of Humour Research},
volume = {7},
number = {1},
pages = {7 page},
abstract = {This paper examines the work of Billy Wilder whose rich cinematic production frequently involves the collision of different languages as well as the clash of dissimilar cultures. As an Austrian living in the USA, the director had the privilege of gaining insight into his adopted culture from the point of view of an outsider – a bilingual ‘other’ who made 25 films in almost 40 years of working in Hollywood. His films recurrently depict foreign characters at which Wilder pokes fun whether they are English, French, German, Italian, Russian or even the Americans of his adopted country. More precisely, the paper offers an overview of the multi-modal portrayals of diverse ‘foreigners’, namely Germans, Russians, French and Italians, with examples taken from a small but significant sample of Wilder’s films. The subtitling of dialogue in the secondary language for the target English-speaking audience and the specific translation solutions are not within the scope of this discussion, instead we focus on the comic collision of two languages and more importantly, on the way Wilder implements humour to highlight the absurdity of cultural difference. In other words, our main goal is to explore two or more languages in contrast when they become a humorous trope.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
This paper examines the work of Billy Wilder whose rich cinematic production frequently involves the collision of different languages as well as the clash of dissimilar cultures. As an Austrian living in the USA, the director had the privilege of gaining insight into his adopted culture from the point of view of an outsider – a bilingual ‘other’ who made 25 films in almost 40 years of working in Hollywood. His films recurrently depict foreign characters at which Wilder pokes fun whether they are English, French, German, Italian, Russian or even the Americans of his adopted country. More precisely, the paper offers an overview of the multi-modal portrayals of diverse ‘foreigners’, namely Germans, Russians, French and Italians, with examples taken from a small but significant sample of Wilder’s films. The subtitling of dialogue in the secondary language for the target English-speaking audience and the specific translation solutions are not within the scope of this discussion, instead we focus on the comic collision of two languages and more importantly, on the way Wilder implements humour to highlight the absurdity of cultural difference. In other words, our main goal is to explore two or more languages in contrast when they become a humorous trope.
Chiaro, Delia Carmela
Tearing up the sanity clause: A class action Journal Article
In: Humor - International Journal of Humor Research, vol. 32, no. 2, 2019.
@article{Chiaro2019bb,
title = {Tearing up the sanity clause: A class action},
author = {Delia Carmela Chiaro},
doi = {10.1515/humor-2018-0062},
year = {2019},
date = {2019-02-19},
journal = {Humor - International Journal of Humor Research},
volume = {32},
number = {2},
abstract = {The law and lawyers are so pervasive in US life and culture that it should come as no surprise that they invite the kind of parody that the cinematic tradition has displayed from the birth of the movies to the present day. By examining a small number of well-known courtroom comedies, this short essay will examine how these movies often use an unlikely character, an outsider and an underdog in terms of class or education who is unable to adhere to the rules of judiciary procedures. While it is true that this outsider is there to be laughed at, humor also emerges from the ridiculousness of many aspects of the legal system and especially of legalese.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
The law and lawyers are so pervasive in US life and culture that it should come as no surprise that they invite the kind of parody that the cinematic tradition has displayed from the birth of the movies to the present day. By examining a small number of well-known courtroom comedies, this short essay will examine how these movies often use an unlikely character, an outsider and an underdog in terms of class or education who is unable to adhere to the rules of judiciary procedures. While it is true that this outsider is there to be laughed at, humor also emerges from the ridiculousness of many aspects of the legal system and especially of legalese.
Chiaro, Delia Carmela
Cross-Languaging Romance on Screen Book Chapter
In: 2019, ISBN: 978-1-5013-3387-3.
@inbook{Chiaro2019bb,
title = {Cross-Languaging Romance on Screen},
author = {Delia Carmela Chiaro},
doi = {10.5040/9781501333903.0013},
isbn = {978-1-5013-3387-3},
year = {2019},
date = {2019-01-01},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
2017
Chiaro, Delia Carmela
“Vivi Pericolosamente”: Christie Davies, Italians and dangerous things Journal Article
In: European Journal of Humour Research, vol. 5, no. 4, pp. 41, 2017.
@article{Chiaro2017,
title = {“Vivi Pericolosamente”: Christie Davies, Italians and dangerous things},
author = {Delia Carmela Chiaro},
doi = {10.7592/EJHR2017.5.4.chiaro},
year = {2017},
date = {2017-12-31},
journal = {European Journal of Humour Research},
volume = {5},
number = {4},
pages = {41},
abstract = {This essay provides a brief overview of English jokes targeting Italians, and sets out to show how internet memes are a progression of traditional jokes in which Italians are the butts but with a modern twist.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
This essay provides a brief overview of English jokes targeting Italians, and sets out to show how internet memes are a progression of traditional jokes in which Italians are the butts but with a modern twist.
Chiaro, Delia Carmela; Bucaria, Chiara
End-user perception of screen translation: the case of Italian dubbing Journal Article
In: Tradterm, vol. 13, pp. 91-118, 2017.
@article{Chiaro2017bb,
title = {End-user perception of screen translation: the case of Italian dubbing},
author = {Delia Carmela Chiaro and Chiara Bucaria},
doi = {10.11606/issn.2317-9511.tradterm.2007.47468},
year = {2017},
date = {2017-12-18},
journal = { Tradterm},
volume = {13},
pages = {91-118},
abstract = {Apesar da falta de atenção dada pelo mundo acadêmico à percepção e satisfação do público em relação à Tradução Audiovisual, é claro que vários elementos lingüístico-culturais de textos dublados podem ser problemáticos para os espectadores estrangeiros e, desta forma, merecem ser considerados. Por exemplo, como os espectadores lidam com as numerosas referências culturais em textos dublados? Eles estranham as expressões em italiano que soam pouco naturais e que obviamente são calques de outras línguas? E senão estranham, por que os toleram? Este artigo pretende preencher uma lacuna no campo da pesquisa em Tradução Audiovisual ao fornecer dados sobre a percepção do usuário final de programas dublados na televisão italiana. Com o intuito de esclarecer algumas destas questões, um estudo experimental foi conduzido. Um corpus de clips de uma série norte-americana de televisão dublada em italiano foi coletado e mostrado para grupos de espectadores formados por especialistas em cinema e tv, lingüistas, tradutores, dubladores bem como membros do público em geral. Cada um dos clips continha um exemplo dos elementos problemáticos descritos acima, com ênfase particular nas referências tipicamente culturais e exemplos de “dublês”. Após assistirem aos clips, os participantes responderam a um questionário que mediu a compreensão e a satisfação de cada seqüência. Os resultados apontaram para uma baixa compreensão de referências culturais e um grau variado de tolerância ao “dubbese”.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
Apesar da falta de atenção dada pelo mundo acadêmico à percepção e satisfação do público em relação à Tradução Audiovisual, é claro que vários elementos lingüístico-culturais de textos dublados podem ser problemáticos para os espectadores estrangeiros e, desta forma, merecem ser considerados. Por exemplo, como os espectadores lidam com as numerosas referências culturais em textos dublados? Eles estranham as expressões em italiano que soam pouco naturais e que obviamente são calques de outras línguas? E senão estranham, por que os toleram? Este artigo pretende preencher uma lacuna no campo da pesquisa em Tradução Audiovisual ao fornecer dados sobre a percepção do usuário final de programas dublados na televisão italiana. Com o intuito de esclarecer algumas destas questões, um estudo experimental foi conduzido. Um corpus de clips de uma série norte-americana de televisão dublada em italiano foi coletado e mostrado para grupos de espectadores formados por especialistas em cinema e tv, lingüistas, tradutores, dubladores bem como membros do público em geral. Cada um dos clips continha um exemplo dos elementos problemáticos descritos acima, com ênfase particular nas referências tipicamente culturais e exemplos de “dublês”. Após assistirem aos clips, os participantes responderam a um questionário que mediu a compreensão e a satisfação de cada seqüência. Os resultados apontaram para uma baixa compreensão de referências culturais e um grau variado de tolerância ao “dubbese”.
Chiaro, Delia Carmela
The language of jokes in the digital age: Viral humour Book
2017, ISBN: 9781315146348.
@book{Chiaro2017b,
title = {The language of jokes in the digital age: Viral humour},
author = {Delia Carmela Chiaro
},
doi = {10.4324/9781315146348},
isbn = {9781315146348},
year = {2017},
date = {2017-12-05},
abstract = {In this accessible book, Delia Chiaro provides a fresh overview of the language of jokes in a globalized and digitalized world. The book shows how, while on the one hand the lingua-cultural nuts and bolts of jokes have remained unchanged over time, on the other, the time-space compression brought about by modern technology has generated new settings and new ways of joking and playing with language. The Language of Jokes in the Digital Age covers a wide range of settings from social networks, e-mails and memes, to more traditional fields of film and TV (especially sitcoms and game shows) and advertising. Chiaro's consideration of the increasingly virtual context of jokes delights with both up-to-date examples and frequent reference to the most central theories of comedy.},
keywords = {},
pubstate = {published},
tppubtype = {book}
}
In this accessible book, Delia Chiaro provides a fresh overview of the language of jokes in a globalized and digitalized world. The book shows how, while on the one hand the lingua-cultural nuts and bolts of jokes have remained unchanged over time, on the other, the time-space compression brought about by modern technology has generated new settings and new ways of joking and playing with language. The Language of Jokes in the Digital Age covers a wide range of settings from social networks, e-mails and memes, to more traditional fields of film and TV (especially sitcoms and game shows) and advertising. Chiaro's consideration of the increasingly virtual context of jokes delights with both up-to-date examples and frequent reference to the most central theories of comedy.
Chiaro, Delia Carmela
The language of jokes and gender Book Chapter
In: pp. 70-120, The Language of Jokes in the Digital Age, 2017, ISBN: 9781315146348.
@inbook{Chiaro2017bb,
title = {The language of jokes and gender},
author = {Delia Carmela Chiaro},
doi = {10.4324/9781315146348-4},
isbn = {9781315146348},
year = {2017},
date = {2017-11-23},
pages = {70-120},
publisher = {The Language of Jokes in the Digital Age},
abstract = {This chapter focuses on instances of verbally expressed humour targeting gender that can be found on the internet with particular attention to humour that "goes viral" by means of social media. The portrayal of the mother-in-law in jokes is generally that of an intimidating battle-axe clutching a rolling pin. Christie Davies, in fact, puts the preponderance of jokes told by men about wives' mothers down to a gender divide, claiming that joke-telling is a masculine pastime. Although Davies does not mention the word "sexism" in his discussions, the language in which blonde jokes are couched does indeed strongly whiff of sexism. Stand-up female comedians appear to be especially fond of particular topics upon which they build a humorous discourse that is often self-deprecatory in nature and that makes up a large part of their repertoire. The basic scatological humour is multiplied because she is a young, attractive female.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
This chapter focuses on instances of verbally expressed humour targeting gender that can be found on the internet with particular attention to humour that "goes viral" by means of social media. The portrayal of the mother-in-law in jokes is generally that of an intimidating battle-axe clutching a rolling pin. Christie Davies, in fact, puts the preponderance of jokes told by men about wives' mothers down to a gender divide, claiming that joke-telling is a masculine pastime. Although Davies does not mention the word "sexism" in his discussions, the language in which blonde jokes are couched does indeed strongly whiff of sexism. Stand-up female comedians appear to be especially fond of particular topics upon which they build a humorous discourse that is often self-deprecatory in nature and that makes up a large part of their repertoire. The basic scatological humour is multiplied because she is a young, attractive female.
Chiaro, Delia Carmela
The language of jokes online Book Chapter
In: pp. 121-155, The Language of Jokes in the Digital Age, 2017, ISBN: 9781315146348.
@inbook{Chiaro2017bb,
title = {The language of jokes online},
author = {Delia Carmela Chiaro},
doi = {10.4324/9781315146348-5},
isbn = {9781315146348},
year = {2017},
date = {2017-11-23},
pages = {121-155},
publisher = {The Language of Jokes in the Digital Age},
abstract = {Verbal language is of utmost importance in users' relationship with the internet; after all, it is principally words that drive the internet. In a real-life joke-capping session people will typically take turns at telling a succession of jokes, with each joke being different from the next and separated by laughter or at the very least by the verbal evaluation of the joke by other listeners. Starting with examples of purely verbal online humour, the chapter provides an overview of some of the different types of computer-mediated humour available on a variety of virtual platforms. Threads containing long stretches of ping-pong-punning (PPP) appear in online newspapers during live coverage of televised events. In contrast to joke-capping, in PPP there are no actual jokes involved. The chapter examines three sets of memes that target Italians; those regarding what is commonly considered to be Italians' excessive use of gesticulation, those regarding their obsession with food, and jokes about their military cowardice.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
Verbal language is of utmost importance in users' relationship with the internet; after all, it is principally words that drive the internet. In a real-life joke-capping session people will typically take turns at telling a succession of jokes, with each joke being different from the next and separated by laughter or at the very least by the verbal evaluation of the joke by other listeners. Starting with examples of purely verbal online humour, the chapter provides an overview of some of the different types of computer-mediated humour available on a variety of virtual platforms. Threads containing long stretches of ping-pong-punning (PPP) appear in online newspapers during live coverage of televised events. In contrast to joke-capping, in PPP there are no actual jokes involved. The chapter examines three sets of memes that target Italians; those regarding what is commonly considered to be Italians' excessive use of gesticulation, those regarding their obsession with food, and jokes about their military cowardice.
Chiaro, Delia Carmela
The language of jokes Book Chapter
In: pp. 6-34, The Language of Jokes in the Digital Age, 2017, ISBN: 9781315146348.
@inbook{Chiaro2017bb,
title = {The language of jokes},
author = {Delia Carmela Chiaro},
doi = {10.4324/9781315146348-2},
isbn = {9781315146348},
year = {2017},
date = {2017-11-23},
pages = {6-34},
publisher = {The Language of Jokes in the Digital Age},
abstract = {The first Knowledge Resource (KR) that is essential in a joke is language. Jokes consist of words and the language resource explains how words/language are/is used to create humour. Traditionally, there has been much debate about jokes that play on language alone and those that play on world or encyclopaedic knowledge. Finally, jokes allow us to talk about many subjects that would be taboo outside the play frame of non-serious discourse. Salvatore Attardo's 1994 KRs highlight the interplay that exists between form and content in a joke. In all probability, Script Opposition is the most vital KR for both the creation and the recognition of verbal humour. However, what is interesting about much humorous material online is that so much of it is actually produced by users themselves. Online ping-pong-punning is more similar to a drawn out game of chess than ping-pong.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
The first Knowledge Resource (KR) that is essential in a joke is language. Jokes consist of words and the language resource explains how words/language are/is used to create humour. Traditionally, there has been much debate about jokes that play on language alone and those that play on world or encyclopaedic knowledge. Finally, jokes allow us to talk about many subjects that would be taboo outside the play frame of non-serious discourse. Salvatore Attardo's 1994 KRs highlight the interplay that exists between form and content in a joke. In all probability, Script Opposition is the most vital KR for both the creation and the recognition of verbal humour. However, what is interesting about much humorous material online is that so much of it is actually produced by users themselves. Online ping-pong-punning is more similar to a drawn out game of chess than ping-pong.
2016
Chiaro, Delia Carmela; Balirano, Giuseppe
Humosexually Speaking. Laughter and the Intersections of Gender Book
De Genere, 2016, ISBN: 2465-2415.
@book{Chiaro2016,
title = {Humosexually Speaking. Laughter and the Intersections of Gender},
author = {Delia Carmela Chiaro and Giuseppe Balirano},
editor = {Delia Carmela Chiaro and Giuseppe Balirano},
isbn = {2465-2415},
year = {2016},
date = {2016-12-01},
publisher = {De Genere},
abstract = {Humosexually Speaking - Laughter and the Intersections of Gender investigates the social function of humour produced in, against and about gender variant communities of speakers, in both verbal and multimodal forms. The editors’ leading idea was to ignite an academic discussion on the several and often hidden ways through which humour succeeds in constantly strengthening and/or re-interpreting, but also dismantling, the social dimension of language. One of the possible results of such a political and social act is the fostering of the cultural exclusion of some gendered, or rather de-generated – as some discriminated groups tend to be commonly alleged to be – minority communities. Additionally, since humour may also work to signify the recurring upsetting of pre-established social beliefs through the systematic threatening of the familiar, the normative, and what is universally deemed as socially acceptable or “normal”, debates on any form of humorous self-representation of gendered identities were also vivid in the editors’ minds. In particular, it seemed fascinating to encouraging a discussion on the way LGBTI communities, just like other marginalised groups, would employ humour to support and reinforce their own in-group sense of community, by mocking typically stereotyped representations of gender variant people who laugh at and with themselves. Although LGBTI humour is still a very hot topic in our western world, one reason for the lack of a real academic confrontation on its social and political mechanisms resides in the very difficult challenge of defining it. Specifically, despite a convincing semantic linguistic theory of humour introduced by Raskin (1985) and later developed by Attardo (1994; 2001), the cultural mechanisms underlying some jokes laughing about human relationships by queering the scene, for instance, are still an unexplored topic.},
keywords = {},
pubstate = {published},
tppubtype = {book}
}
Humosexually Speaking - Laughter and the Intersections of Gender investigates the social function of humour produced in, against and about gender variant communities of speakers, in both verbal and multimodal forms. The editors’ leading idea was to ignite an academic discussion on the several and often hidden ways through which humour succeeds in constantly strengthening and/or re-interpreting, but also dismantling, the social dimension of language. One of the possible results of such a political and social act is the fostering of the cultural exclusion of some gendered, or rather de-generated – as some discriminated groups tend to be commonly alleged to be – minority communities. Additionally, since humour may also work to signify the recurring upsetting of pre-established social beliefs through the systematic threatening of the familiar, the normative, and what is universally deemed as socially acceptable or “normal”, debates on any form of humorous self-representation of gendered identities were also vivid in the editors’ minds. In particular, it seemed fascinating to encouraging a discussion on the way LGBTI communities, just like other marginalised groups, would employ humour to support and reinforce their own in-group sense of community, by mocking typically stereotyped representations of gender variant people who laugh at and with themselves. Although LGBTI humour is still a very hot topic in our western world, one reason for the lack of a real academic confrontation on its social and political mechanisms resides in the very difficult challenge of defining it. Specifically, despite a convincing semantic linguistic theory of humour introduced by Raskin (1985) and later developed by Attardo (1994; 2001), the cultural mechanisms underlying some jokes laughing about human relationships by queering the scene, for instance, are still an unexplored topic.
Chiaro, Delia Carmela
Filthy Viewing, Dirty Laughter Book Chapter
In: pp. 191-208, Palgrave Macmillan, London, 2016, ISBN: 978-1-137-59338-2.
@inbook{Chiaro2016b,
title = {Filthy Viewing, Dirty Laughter},
author = {Delia Carmela Chiaro},
doi = {10.1057/978-1-137-59338-2_11},
isbn = {978-1-137-59338-2},
year = {2016},
date = {2016-01-01},
pages = {191-208},
publisher = {Palgrave Macmillan, London},
abstract = {This chapter sets out to identify the diverse types and functions of laughter occurring in How Clean Is Your House?, a lifestyle makeover show that ran for five seasons on UK Channel 4 between May 2003 and September 2009. While this ‘before and after’ format is instructive in terms of tips regarding household tasks, it is also very funny. In fact, rather than simply occurring in response to the shocking yet comical situations presented at the start of each episode, much laughter in the series conveys nervousness and embarrassment as well as residents’/culprits’ alignment and dis-alignment with Woodburn and MacKenzie’s laughter and/or admonishments. Laughter particles also occur in the speaker’s voice-over, therefore highlighting the program’s importance of not being earnest.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
This chapter sets out to identify the diverse types and functions of laughter occurring in How Clean Is Your House?, a lifestyle makeover show that ran for five seasons on UK Channel 4 between May 2003 and September 2009. While this ‘before and after’ format is instructive in terms of tips regarding household tasks, it is also very funny. In fact, rather than simply occurring in response to the shocking yet comical situations presented at the start of each episode, much laughter in the series conveys nervousness and embarrassment as well as residents’/culprits’ alignment and dis-alignment with Woodburn and MacKenzie’s laughter and/or admonishments. Laughter particles also occur in the speaker’s voice-over, therefore highlighting the program’s importance of not being earnest.
2015
Chiaro, Delia Carmela; Rossato, Linda
Food and translation, translation and food Journal Article
In: The Translator, vol. 21, no. 3, pp. 237-243, 2015.
@article{Chiaro2015,
title = {Food and translation, translation and food},
author = {Delia Carmela Chiaro and Linda Rossato},
doi = {10.1080/13556509.2015.1110934},
year = {2015},
date = {2015-09-02},
journal = {The Translator},
volume = {21},
number = {3},
pages = {237-243},
abstract = {Food, the cornerstone of life, lies at the heart of our cultural identity. Vital for our health and well-being, our awareness of its economic, cultural and social significance - how the language of food and related practices travel across languages and cultures cannot be disregarded. Despite a rapidly expanding market for translation of food related texts: cookery books and TV programmes, magazines and food labels, to name just a few, and despite fast-pace evolving eating habits and phenomena, the relationship between food, culture and translation remains under-researched. By bringing these issues to light, this special issue aims to be a truly interdisciplinary reference work that brings together expert scholars writing on food related topics from a translational and intercultural perspective.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
Food, the cornerstone of life, lies at the heart of our cultural identity. Vital for our health and well-being, our awareness of its economic, cultural and social significance - how the language of food and related practices travel across languages and cultures cannot be disregarded. Despite a rapidly expanding market for translation of food related texts: cookery books and TV programmes, magazines and food labels, to name just a few, and despite fast-pace evolving eating habits and phenomena, the relationship between food, culture and translation remains under-researched. By bringing these issues to light, this special issue aims to be a truly interdisciplinary reference work that brings together expert scholars writing on food related topics from a translational and intercultural perspective.
2014
Chiaro, Delia Carmela
Translational and Marketing Communication Journal Article
In: Translator, vol. 10, no. 2, pp. 313-328, 2014.
@article{Chiaro2014,
title = {Translational and Marketing Communication},
author = {Delia Carmela Chiaro},
doi = {10.1080/13556509.2004.10799182},
year = {2014},
date = {2014-02-21},
journal = {Translator},
volume = {10},
number = {2},
pages = {313-328},
abstract = {One of the many effects of the new economy has been the deconstruction of traditional market channel distribution. Today, the traditional ‘producer-wholesaler-retailer-consumer’ sequence of buying and selling is changing as the World Wide Web has created a direct link between producer and customer (B2C) and between producer and producer (B2B). Like many other economies, the Italian one, which is largely based on small and medium sized industries, has had to come to terms with the challenge of competing in this new marketplace, with the handicap of having to do so in a language other than its own. This paper sets out to investigate how the Italian agro-food sector promotes its products beyond the national market. In order to examine the interdependence between medium and message, a corpus of electronic promotional texts for Italian foodstuff is compared and contrasted with a comparable corpus of printed advertising material from specialized magazines in English. After examining common strategies adopted in the two media, specific translation strategies adopted in the web corpus are analyzed.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
One of the many effects of the new economy has been the deconstruction of traditional market channel distribution. Today, the traditional ‘producer-wholesaler-retailer-consumer’ sequence of buying and selling is changing as the World Wide Web has created a direct link between producer and customer (B2C) and between producer and producer (B2B). Like many other economies, the Italian one, which is largely based on small and medium sized industries, has had to come to terms with the challenge of competing in this new marketplace, with the handicap of having to do so in a language other than its own. This paper sets out to investigate how the Italian agro-food sector promotes its products beyond the national market. In order to examine the interdependence between medium and message, a corpus of electronic promotional texts for Italian foodstuff is compared and contrasted with a comparable corpus of printed advertising material from specialized magazines in English. After examining common strategies adopted in the two media, specific translation strategies adopted in the web corpus are analyzed.
Chiaro, Delia Carmela; Baccolini, Raffaella
Humor and Gender: Interdisciplinary and International Perspectives Book
Routledge, 2014, ISBN: 9781315814322.
@book{Chiaro2014b,
title = {Humor and Gender: Interdisciplinary and International Perspectives},
author = {Delia Carmela Chiaro and Raffaella Baccolini},
doi = {10.4324/9781315814322},
isbn = {9781315814322},
year = {2014},
date = {2014-01-01},
publisher = {Routledge},
abstract = {In the mid-seventies, both gender studies and humor studies emerged as new disciplines, with scholars from various fields undertaking research in these areas. The first publications that emerged in the field of gender studies came out of disciplines such as philosophy, history, and literature, while early works in the area of humor studies initially concentrated on language, linguistics, and psychology. Since then, both fields have flourished, but largely independently. This book draws together and focuses the work of scholars from diverse disciplines on intersections of gender and humor, giving voice to approaches in disciplines such as film, television, literature, linguistics, translation studies, and popular culture.},
keywords = {},
pubstate = {published},
tppubtype = {book}
}
In the mid-seventies, both gender studies and humor studies emerged as new disciplines, with scholars from various fields undertaking research in these areas. The first publications that emerged in the field of gender studies came out of disciplines such as philosophy, history, and literature, while early works in the area of humor studies initially concentrated on language, linguistics, and psychology. Since then, both fields have flourished, but largely independently. This book draws together and focuses the work of scholars from diverse disciplines on intersections of gender and humor, giving voice to approaches in disciplines such as film, television, literature, linguistics, translation studies, and popular culture.
2013
Chiaro, Delia Carmela
Passionate about food Book Chapter
In: pp. 83-102, Culinary Linguistics, 2013.
@inbook{Chiaro2013,
title = {Passionate about food},
author = {Delia Carmela Chiaro},
doi = {10.1075/clu.10.03chi},
year = {2013},
date = {2013-01-01},
pages = {83-102},
publisher = {Culinary Linguistics},
abstract = {Despite the nation’s poor reputation in terms of cuisine, cookery shows abound on UK television with Jamie Oliver and Nigella Lawson being two of TV’s most popular chefs. Following a brief overview of popular cookery programs broadcast in the UK over the past fifty years, this essay will focus on Jamie and Nigella through a description of a series of linguistic features adopted by each, such as their idiosyncratic uses of terminology when giving instructions; modes of interaction with the audience and expressions of emotion. It will emerge that the chefs’ performances, especially in terms of language, take front stage with respect to the dishes they present.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
Despite the nation’s poor reputation in terms of cuisine, cookery shows abound on UK television with Jamie Oliver and Nigella Lawson being two of TV’s most popular chefs. Following a brief overview of popular cookery programs broadcast in the UK over the past fifty years, this essay will focus on Jamie and Nigella through a description of a series of linguistic features adopted by each, such as their idiosyncratic uses of terminology when giving instructions; modes of interaction with the audience and expressions of emotion. It will emerge that the chefs’ performances, especially in terms of language, take front stage with respect to the dishes they present.
2012
Chiaro, Delia Carmela
Audiovisual Translation Book Chapter
In: The encyclopedia of applied linguistics, 2012.
@inbook{Chiaro2012,
title = {Audiovisual Translation},
author = {Delia Carmela Chiaro},
doi = {10.1002/9781405198431.wbeal0061},
year = {2012},
date = {2012-11-01},
publisher = {The encyclopedia of applied linguistics},
abstract = {Audiovisual translation (AVT) is the term used to refer to the transfer from one language to another of the verbal components contained in audiovisual works and products. Feature films, television programs, theatrical plays, musicals, opera, Web pages, and video games are just some examples of the vast array of audiovisual products available and that require translation. As the word suggests, audiovisuals are made to be both heard (audio) and seen (visual) simultaneously but they are primarily meant to be seen. We talk of “watching” a movie, a show, or even an opera; we “see” programs that are “shown” on television. However, while the verbal and visual codes in audiovisuals are linked to such an extent that the words naturally tend to rely heavily on the visuals, the translation of these products operates on a verbal level alone.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
Audiovisual translation (AVT) is the term used to refer to the transfer from one language to another of the verbal components contained in audiovisual works and products. Feature films, television programs, theatrical plays, musicals, opera, Web pages, and video games are just some examples of the vast array of audiovisual products available and that require translation. As the word suggests, audiovisuals are made to be both heard (audio) and seen (visual) simultaneously but they are primarily meant to be seen. We talk of “watching” a movie, a show, or even an opera; we “see” programs that are “shown” on television. However, while the verbal and visual codes in audiovisuals are linked to such an extent that the words naturally tend to rely heavily on the visuals, the translation of these products operates on a verbal level alone.
2011
Chiaro, Delia Carmela
Comic takeover or comic makeover? Book Chapter
In: pp. 365-378, The Pragmatics of Humour across Discourse Domains, 2011.
@inbook{Chiaro2011,
title = {Comic takeover or comic makeover?},
author = {Delia Carmela Chiaro},
doi = {10.1075/pbns.210.23chi},
year = {2011},
date = {2011-01-01},
pages = {365-378},
publisher = {The Pragmatics of Humour across Discourse Domains},
abstract = {Academic writings on humour and translation have principally pivoted around the pragma-linguistic aspects of transfer from source to target language/s (e.g. Chiaro; Delabastita; Vandaele). However, rather than exploring the choices, strategies and devices involved in interlingual translation, the present study sets out to examine the main difficulties involved concerning the translation of humour in terms of the basics of transfer of humorous materials such as jokes and more general humorous discourse that may occur in books and films, as well as other forms of public discourse. Additionally, this essay gives an overview of linguistic and cultural barriers that sometimes impede its translation and suggests the notion of diverse “senses of humour” possibly reflected in the lexis of distinct languages. Finally, it will discuss how the act of translation itself is used for humorous means. Overall, the article testifies to the pragmatic nature of several lingua-cultural constraints and issues central to the translation of humour.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
Academic writings on humour and translation have principally pivoted around the pragma-linguistic aspects of transfer from source to target language/s (e.g. Chiaro; Delabastita; Vandaele). However, rather than exploring the choices, strategies and devices involved in interlingual translation, the present study sets out to examine the main difficulties involved concerning the translation of humour in terms of the basics of transfer of humorous materials such as jokes and more general humorous discourse that may occur in books and films, as well as other forms of public discourse. Additionally, this essay gives an overview of linguistic and cultural barriers that sometimes impede its translation and suggests the notion of diverse “senses of humour” possibly reflected in the lexis of distinct languages. Finally, it will discuss how the act of translation itself is used for humorous means. Overall, the article testifies to the pragmatic nature of several lingua-cultural constraints and issues central to the translation of humour.
Chiaro, Delia Carmela; Baccolini, Raffaella; Rundle, Chris; Whitsitt, Sam
A joyful of talkatalka from friendshapes for Rosa Maria Bollettieri Bosinelli Book
BUP, 2011.
@book{Chiaro2011b,
title = {A joyful of talkatalka from friendshapes for Rosa Maria Bollettieri Bosinelli},
author = {Delia Carmela Chiaro and Raffaella Baccolini and Chris Rundle and Sam Whitsitt},
year = {2011},
date = {2011-01-01},
publisher = {BUP},
keywords = {},
pubstate = {published},
tppubtype = {book}
}
Chiaro, Delia Carmela; Baccolini, Raffaella; Rundle, Chris; Whitsitt, Sam
Minding the Gap: Studies in Linguistic and Cultural Exchange for Rosa Maria Bollettieri Bosinelli Book
Bononia University Press, 2011, ISBN: 978-88-7395-678-5.
@book{Chiaro2011bb,
title = {Minding the Gap: Studies in Linguistic and Cultural Exchange for Rosa Maria Bollettieri Bosinelli},
author = {Delia Carmela Chiaro and Raffaella Baccolini and Chris Rundle and Sam Whitsitt},
isbn = {978-88-7395-678-5},
year = {2011},
date = {2011-01-01},
volume = {2},
publisher = {Bononia University Press},
keywords = {},
pubstate = {published},
tppubtype = {book}
}
2010
Chiaro, Delia Carmela
Laughing At or Laughing With? Italian Comic Stereotypes Viewed From Within the Peripheral Group Book Chapter
In: pp. 65–83, Hybrid Humour, 2010, ISBN: 9789042028241.
@inbook{Chiaro2010,
title = {Laughing At or Laughing With? Italian Comic Stereotypes Viewed From Within the Peripheral Group},
author = {Delia Carmela Chiaro},
doi = {10.1163/9789042028241_004},
isbn = {9789042028241},
year = {2010},
date = {2010-01-01},
pages = {65–83},
publisher = {Hybrid Humour},
abstract = {National and cultural stereotypes in popular jokes and in the mass media, here in TV series like The Sopranos and commercials for Italian food products, are often seen as simple and inflexible when it comes to their effect on the audience. That this is not the case is shown by the empirical study of the responses of Italian migrants to comic Italian stereotypes in English-language me-dia. Different responses (such as amusement, indifference, or resentment) can be observed in relation to the cultural status of the issues addressed, which reflects the acceptance of certain ideas and the taboo-status of others. Yet there are also striking differences in the reactions to such humorous clichés between first- and later-generation migrants. This shows that hybridity in humour is not an essential quality of the humorous text or artefact, but generated to a consider-able extent by the position and attitude of the audience of these jokes. },
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
National and cultural stereotypes in popular jokes and in the mass media, here in TV series like The Sopranos and commercials for Italian food products, are often seen as simple and inflexible when it comes to their effect on the audience. That this is not the case is shown by the empirical study of the responses of Italian migrants to comic Italian stereotypes in English-language me-dia. Different responses (such as amusement, indifference, or resentment) can be observed in relation to the cultural status of the issues addressed, which reflects the acceptance of certain ideas and the taboo-status of others. Yet there are also striking differences in the reactions to such humorous clichés between first- and later-generation migrants. This shows that hybridity in humour is not an essential quality of the humorous text or artefact, but generated to a consider-able extent by the position and attitude of the audience of these jokes.
Chiaro, Delia Carmela
‘In English Please!’ Lost in Translation: Little Britain and Italian Audiences Book Chapter
In: Reading Little Britain, 2010, ISBN: 978-1-8451-1939-3.
@inbook{Chiaro2010b,
title = {‘In English Please!’ Lost in Translation: Little Britain and Italian Audiences},
author = {Delia Carmela Chiaro},
doi = {10.5040/9780755697397.ch-010},
isbn = {978-1-8451-1939-3},
year = {2010},
date = {2010-01-01},
publisher = {Reading Little Britain},
abstract = {Delia Chiaro Although ‘British humour’ is a notion which exists within the Italian collective imagination, it is unlikely that individuals would be capable of exemplifying it through its sketch shows and sitcoms. Italian audiences, in fact, are fundamentally unfamiliar with British sketch shows and sitcoms because very few television products are imported from the UK and they, therefore, simply do not get the chance to see them. Following a discussion of the possible reasons for the absence of British comic products from Italian television, this chapter sets out to examine the issue of the culture-specificity of British humour – especially the role that the language barrier, and hence translation, plays in the export of audiovisual comedy to non-English-speaking countries such as Italy. After discussing the specific problems involved in translating and subtitling Little Britain.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
Delia Chiaro Although ‘British humour’ is a notion which exists within the Italian collective imagination, it is unlikely that individuals would be capable of exemplifying it through its sketch shows and sitcoms. Italian audiences, in fact, are fundamentally unfamiliar with British sketch shows and sitcoms because very few television products are imported from the UK and they, therefore, simply do not get the chance to see them. Following a discussion of the possible reasons for the absence of British comic products from Italian television, this chapter sets out to examine the issue of the culture-specificity of British humour – especially the role that the language barrier, and hence translation, plays in the export of audiovisual comedy to non-English-speaking countries such as Italy. After discussing the specific problems involved in translating and subtitling Little Britain.
2009
Chiaro, Delia Carmela
Cultural divide or unifying factor? Book Chapter
In: pp. 211 - 232, Humor in Interaction, 2009.
@inbook{Chiaro2009bb,
title = {Cultural divide or unifying factor?},
author = {Delia Carmela Chiaro},
doi = {10.1075/pbns.182.10chi},
year = {2009},
date = {2009-07-03},
pages = {211 - 232},
publisher = {Humor in Interaction},
abstract = {This essay sets out to explore a positive aspect of bilingual cross-cultural couples in long term relationships, namely the occurrence of what is considered a harmonious factor: humour. The results of a purpose-built questionnaire completed by 59 couples sheds light on a series of socio and psycholinguistic aspects of their daily relationship including language choice and attitudes in the domain of the couples’ ludic interaction, such as when they joke with each other verbally and their use of humorous talk. This essay reports the findings of the processed data that emerged from the questionnaires as well as qualitative data deriving from a series of semi-structured interviews. I love you, I love you , I love you, that’s all I want to say, until I find a way, I will say the only words I know that you’ll understand, my Michelle. (Lennon-McCartney)},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
This essay sets out to explore a positive aspect of bilingual cross-cultural couples in long term relationships, namely the occurrence of what is considered a harmonious factor: humour. The results of a purpose-built questionnaire completed by 59 couples sheds light on a series of socio and psycholinguistic aspects of their daily relationship including language choice and attitudes in the domain of the couples’ ludic interaction, such as when they joke with each other verbally and their use of humorous talk. This essay reports the findings of the processed data that emerged from the questionnaires as well as qualitative data deriving from a series of semi-structured interviews. I love you, I love you , I love you, that’s all I want to say, until I find a way, I will say the only words I know that you’ll understand, my Michelle. (Lennon-McCartney)
Chiaro, Delia Carmela
Italians doing it on the web: Translating and selling Italianness Journal Article
In: Vigo International Journal of Applied Linguistics, vol. 6, no. 1, 2009.
@article{Chiaro2009,
title = {Italians doing it on the web: Translating and selling Italianness},
author = {Delia Carmela Chiaro},
year = {2009},
date = {2009-01-01},
journal = {Vigo International Journal of Applied Linguistics},
volume = {6},
number = {1},
abstract = {This essay explores the implementation of a stereotypically Italian attribute, passion, in the promotion of Italian beverages via the Internet. Twenty websites promoting different types of alcoholic and non-alcoholic beverages were examined in order to see how the concept of passion was adopted and whether, and if so, how the concept of passion changes according to the size of the company and the type of beverage being promoted. Findings showed that the more alcoholic content the promoted beverage contains, the stronger and more transgressive references to pas- sion became. Furthermore, larger companies tended to opt for a more humorous use of the stereotype when compared to smaller companies.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
This essay explores the implementation of a stereotypically Italian attribute, passion, in the promotion of Italian beverages via the Internet. Twenty websites promoting different types of alcoholic and non-alcoholic beverages were examined in order to see how the concept of passion was adopted and whether, and if so, how the concept of passion changes according to the size of the company and the type of beverage being promoted. Findings showed that the more alcoholic content the promoted beverage contains, the stronger and more transgressive references to pas- sion became. Furthermore, larger companies tended to opt for a more humorous use of the stereotype when compared to smaller companies.
Chiaro, Delia Carmela
Cultural divide or unifying factor? Humorous talk in the interaction of bilingual, cross-cultural couples Journal Article
In: Humor in Interaction, pp. 211 - 232, 2009.
@article{Chiaro2009b,
title = {Cultural divide or unifying factor? Humorous talk in the interaction of bilingual, cross-cultural couples},
author = {Delia Carmela Chiaro},
doi = {10.1075/pbns.182.10chi},
year = {2009},
date = {2009-01-01},
journal = {Humor in Interaction},
pages = {211 - 232},
abstract = {This essay sets out to explore a positive aspect of bilingual cross-cultural couples in long term relationships, namely the occurrence of what is considered a harmonious factor: humour. The results of a purpose-built questionnaire completed by 59 couples sheds light on a series of socio and psycholinguistic aspects of their daily relationship including language choice and attitudes in the domain of the couples’ ludic interaction, such as when they joke with each other verbally and their use of humorous talk. This essay reports the findings of the processed data that emerged from the questionnaires as well as qualitative data deriving from a series of semi-structured interviews. I love you, I love you , I love you, that’s all I want to say, until I find a way, I will say the only words I know that you’ll understand, my Michelle.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
This essay sets out to explore a positive aspect of bilingual cross-cultural couples in long term relationships, namely the occurrence of what is considered a harmonious factor: humour. The results of a purpose-built questionnaire completed by 59 couples sheds light on a series of socio and psycholinguistic aspects of their daily relationship including language choice and attitudes in the domain of the couples’ ludic interaction, such as when they joke with each other verbally and their use of humorous talk. This essay reports the findings of the processed data that emerged from the questionnaires as well as qualitative data deriving from a series of semi-structured interviews. I love you, I love you , I love you, that’s all I want to say, until I find a way, I will say the only words I know that you’ll understand, my Michelle.
Chiaro, Delia Carmela; Norrick, Neal R.
Introduction: Humor and interaction Book Chapter
In: pp. ix-xvii, Humor in Interaction, 2009.
@inbook{Chiaro2009bb,
title = {Introduction: Humor and interaction},
author = {Delia Carmela Chiaro and Neal R. Norrick},
doi = {10.1075/pbns.182.00toc},
year = {2009},
date = {2009-01-01},
pages = {ix-xvii},
publisher = {Humor in Interaction},
abstract = {This is the first edited volume dedicated specifically to humor in interaction. It is a rich collection of essays by an international array of scholars representing various theoretical perspectives, but all concerned with interactional aspects of humor. The contributors are scholars active both in the interdisciplinary area of humor studies and in adjacent disciplines such as linguistic pragmatics, sociolinguistics, discourse analysis, psycholinguistics, gender and translation studies. The volume effectively offers an overview of the range of phenomena falling in the broad category of ‘conversational humor’, and convincingly argues for the many different functions humor can fulfill, bypassing simplistic humor theories reducing humor to one function. All the articles draw on empirical material from different countries and cultures, comprising conversations among friends and family, talk in workplace situations, humor in educational settings, and experimental approaches to humor in interaction. The book is sure to become an important reference and source of inspiration for scholars in the various subfields of humor studies, pragmatics and (socio-)linguistics.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
This is the first edited volume dedicated specifically to humor in interaction. It is a rich collection of essays by an international array of scholars representing various theoretical perspectives, but all concerned with interactional aspects of humor. The contributors are scholars active both in the interdisciplinary area of humor studies and in adjacent disciplines such as linguistic pragmatics, sociolinguistics, discourse analysis, psycholinguistics, gender and translation studies. The volume effectively offers an overview of the range of phenomena falling in the broad category of ‘conversational humor’, and convincingly argues for the many different functions humor can fulfill, bypassing simplistic humor theories reducing humor to one function. All the articles draw on empirical material from different countries and cultures, comprising conversations among friends and family, talk in workplace situations, humor in educational settings, and experimental approaches to humor in interaction. The book is sure to become an important reference and source of inspiration for scholars in the various subfields of humor studies, pragmatics and (socio-)linguistics.
Chiaro, Delia Carmela; Antonini, Rachele
The Perception of Dubbing by Italian Audiences Book Chapter
In: pp. 97-114, Audiovisual Translation, 2009, ISBN: 978-1-349-28600-3.
@inbook{Chiaro2009bb,
title = {The Perception of Dubbing by Italian Audiences},
author = {Delia Carmela Chiaro and Rachele Antonini},
doi = {10.1057/9780230234581_8},
isbn = {978-1-349-28600-3},
year = {2009},
date = {2009-01-01},
pages = {97-114},
publisher = {Audiovisual Translation},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
Chiaro, Delia Carmela
Not in front of the children? An analysis of sex on screen in Italy Journal Article
In: Vigo International Journal of Applied Linguistics, vol. 6, pp. 33-49, 2009.
@article{Chiaro2009bb,
title = {Not in front of the children? An analysis of sex on screen in Italy},
author = {Delia Carmela Chiaro},
year = {2009},
date = {2009-01-01},
journal = {Vigo International Journal of Applied Linguistics},
volume = {6},
pages = {33-49},
abstract = {Despite the fact that both state owned (RAI) and privately owned (Mediaset) Ital-ian television channels habitually adopt scantily dressed women in provocative poses to fulfill a purely decorative function on daytime television, a closer look at Italian TV reveals that it is far less liberated than it seems. In fact, in stark con-tradiction to the apparent unrestraint of autochthonous studio productions, refer-ences to sex and sexuality in imported fictional products tend to be severely miti-gated in their translated forms. Furthermore, it also appears that sexual behav-iour beyond traditional male/female 'mainstream' sexual practices becomes in-creasingly taboo in translation, as they too are either toned down or totally elimi-nated. Relegated to cable and satellite channels or late-night/early morning view-ing on one of the privately owned Mediaset channels, programs containing very explicit sexual content such as US produced 'Sex and the City' are moderated quite significantly for Italian audiences, not only in terms of the pervasive use of strong, taboo language, but also for explicit references to a variety of sexual prac-tices. This paper will discuss the norms which govern the translation of 'adult' materi-als for Italian TV both from an examination of the linguistic content of the pro-grams themselves and from the point of view of operators involved in the dubbing process.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
Despite the fact that both state owned (RAI) and privately owned (Mediaset) Ital-ian television channels habitually adopt scantily dressed women in provocative poses to fulfill a purely decorative function on daytime television, a closer look at Italian TV reveals that it is far less liberated than it seems. In fact, in stark con-tradiction to the apparent unrestraint of autochthonous studio productions, refer-ences to sex and sexuality in imported fictional products tend to be severely miti-gated in their translated forms. Furthermore, it also appears that sexual behav-iour beyond traditional male/female 'mainstream' sexual practices becomes in-creasingly taboo in translation, as they too are either toned down or totally elimi-nated. Relegated to cable and satellite channels or late-night/early morning view-ing on one of the privately owned Mediaset channels, programs containing very explicit sexual content such as US produced 'Sex and the City' are moderated quite significantly for Italian audiences, not only in terms of the pervasive use of strong, taboo language, but also for explicit references to a variety of sexual prac-tices. This paper will discuss the norms which govern the translation of 'adult' materi-als for Italian TV both from an examination of the linguistic content of the pro-grams themselves and from the point of view of operators involved in the dubbing process.
2008
Chiaro, Delia Carmela
Verbally expressed humor and translation Book Chapter
In: pp. 569-608, The Primer of Humor Research, 2008, ISBN: 978-3-11-018616-1.
@inbook{Chiaro2008,
title = {Verbally expressed humor and translation},
author = {Delia Carmela Chiaro},
doi = {10.1515/9783110198492.569},
isbn = {978-3-11-018616-1},
year = {2008},
date = {2008-11-15},
pages = {569-608},
publisher = {The Primer of Humor Research},
abstract = {It is a well known fact that verbally expressed humour (VEH) travels badly Regrettably, beyond the boundaries of the society in which it originates, VEH will encounter two major barriers which will restrict its purpose: different languages and different cultures Translations are attempts at demolishing these apparently insurmountable barriers but, the translation of VEH is a notoriously arduous task the results of which are not always triumphant Generally considered to be untranslatable, yet systematically translated, no matter how complex the VEH in question, the translator feels obliged to desperately search for an adequate solution to what is often a multifaceted linguistic and/or cultural rebus As far as humorous discourse is concerned “Il en est de la traduction comme des sports: la limite semble pouvoir toujours être reculée ”(Laurian 1989: 6)},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
It is a well known fact that verbally expressed humour (VEH) travels badly Regrettably, beyond the boundaries of the society in which it originates, VEH will encounter two major barriers which will restrict its purpose: different languages and different cultures Translations are attempts at demolishing these apparently insurmountable barriers but, the translation of VEH is a notoriously arduous task the results of which are not always triumphant Generally considered to be untranslatable, yet systematically translated, no matter how complex the VEH in question, the translator feels obliged to desperately search for an adequate solution to what is often a multifaceted linguistic and/or cultural rebus As far as humorous discourse is concerned “Il en est de la traduction comme des sports: la limite semble pouvoir toujours être reculée ”(Laurian 1989: 6)
Chiaro, Delia Carmela
A taste of otherness eating and thinking globally Journal Article
In: European Journal of English Studies, vol. 12, no. 2, pp. 195-209, 2008.
@article{Chiaro2008b,
title = {A taste of otherness eating and thinking globally},
author = {Delia Carmela Chiaro},
doi = {10.1080/13825570802151470},
year = {2008},
date = {2008-08-01},
journal = {European Journal of English Studies},
volume = {12},
number = {2},
pages = {195-209},
abstract = {This essay sets out to explore a number of social issues related to present day food culture in the UK and the role translation has played in enhancing the shift that has occurred in the concept of foreignness as portrayed in texts related to cookery, especially over the past 50 years. In particular, it will examine the way in which, in culinary contexts, ‘the continent’ has shifted from mainly connoting France, to include Italy, which was to eventually become the nation's ‘preferred’ food culture. How other food cultures are presented to UK readers, both visually and verbally, will be examined through selected cookery books and food magazines in the light of two features: how culinary ‘otherness’ is introduced through translation and how British identity is brought to terms with new incoming distinctiveness. The essay will also reflect upon the contradiction of present day food culture in the UK and especially the tension between the idea of the ‘healthy eating’ of others portrayed in the media, and the ‘junk eating’ reality of the UK.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
This essay sets out to explore a number of social issues related to present day food culture in the UK and the role translation has played in enhancing the shift that has occurred in the concept of foreignness as portrayed in texts related to cookery, especially over the past 50 years. In particular, it will examine the way in which, in culinary contexts, ‘the continent’ has shifted from mainly connoting France, to include Italy, which was to eventually become the nation's ‘preferred’ food culture. How other food cultures are presented to UK readers, both visually and verbally, will be examined through selected cookery books and food magazines in the light of two features: how culinary ‘otherness’ is introduced through translation and how British identity is brought to terms with new incoming distinctiveness. The essay will also reflect upon the contradiction of present day food culture in the UK and especially the tension between the idea of the ‘healthy eating’ of others portrayed in the media, and the ‘junk eating’ reality of the UK.
Chiaro, Delia Carmela
Is it true? Is it new? Does it matter? Towards a paradigm shift in translation and interpreting studies Journal Article
In: Translation and Interpreting Studies , vol. 3, no. 1-2, pp. 147-164, 2008.
@article{Chiaro2008bb,
title = {Is it true? Is it new? Does it matter? Towards a paradigm shift in translation and interpreting studies},
author = {Delia Carmela Chiaro},
doi = {10.1075/tis.3.1-2.05chi},
year = {2008},
date = {2008-01-01},
journal = {Translation and Interpreting Studies },
volume = {3},
number = {1-2},
pages = {147-164},
abstract = {Despite the widespread emergence of translations and diverse types of language mediation in contemporary society, our knowledge of the processes and operators involved in the "translation industry" is still very sketchy. With most translation scholars working within the liberal arts paradigm, research to date has tended to adopt methodologies pertaining to the humanities while overlooking more practical approaches typical of the more ‘scientific’ disciplines. This paper outlines the necessity for empirical methods that aim at gathering information regarding basic aspects of translation, ranging from typologies of translations to the operators involved in their production as well as aspects regarding end user perception. Such maps and atlases delineating the status quo of translation and interpreting would provide information for fresh insights.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
Despite the widespread emergence of translations and diverse types of language mediation in contemporary society, our knowledge of the processes and operators involved in the "translation industry" is still very sketchy. With most translation scholars working within the liberal arts paradigm, research to date has tended to adopt methodologies pertaining to the humanities while overlooking more practical approaches typical of the more ‘scientific’ disciplines. This paper outlines the necessity for empirical methods that aim at gathering information regarding basic aspects of translation, ranging from typologies of translations to the operators involved in their production as well as aspects regarding end user perception. Such maps and atlases delineating the status quo of translation and interpreting would provide information for fresh insights.
Chiaro, Delia Carmela
Issues of quality in screen translation: Problems and solutions Book Chapter
In: pp. 241-256, Between Text and Image: Updating research in screen translation, 2008.
@inbook{Chiaro2008bb,
title = {Issues of quality in screen translation: Problems and solutions},
author = {Delia Carmela Chiaro},
doi = {10.1075/btl.78.24chi},
year = {2008},
date = {2008-01-01},
pages = {241-256},
publisher = {Between Text and Image: Updating research in screen translation},
abstract = {Scholarly debate in screen translation (ST) regarding quality issues often hinges on the complexity of specifying quality standards for such a heterogeneous market in terms of typology of translation (i.e. dubbing, subtitling, voice-over etc.) and the wide range of credence attributes which might contribute to the creation of quality standards for these products. Moreover, the situation is further complicated by the issue of “Quality according to whom?”: operators; service providers; end users, or all three? However complicated these problems may seem, this paper attempts to look for answers. Total Quality Management (TQM) and attribute-based approaches already widely used to measure customer satisfaction in media studies will be put forward as tentative instruments to determine quality in ST.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
Scholarly debate in screen translation (ST) regarding quality issues often hinges on the complexity of specifying quality standards for such a heterogeneous market in terms of typology of translation (i.e. dubbing, subtitling, voice-over etc.) and the wide range of credence attributes which might contribute to the creation of quality standards for these products. Moreover, the situation is further complicated by the issue of “Quality according to whom?”: operators; service providers; end users, or all three? However complicated these problems may seem, this paper attempts to look for answers. Total Quality Management (TQM) and attribute-based approaches already widely used to measure customer satisfaction in media studies will be put forward as tentative instruments to determine quality in ST.
2007
Chiaro, Delia Carmela
The effect of translation on humour response Book Chapter
In: pp. 137-152, Doubts and Directions in Translation Studies, Amsterdam & Philadelphia: John Benjamins, 2007.
@inbook{Chiaro2007,
title = {The effect of translation on humour response},
author = {Delia Carmela Chiaro},
doi = {10.1075/btl.72.16chi},
year = {2007},
date = {2007-07-13},
pages = {137-152},
publisher = {Doubts and Directions in Translation Studies, Amsterdam & Philadelphia: John Benjamins},
abstract = {A small-scale investigation was carried out to explore how Italian audiences perceive Verbally Expressed Humour (VEH) when it is translated for the screen and how far translation might have an impact on individual Humour Responses (HR); i.e. the physiological responses to humorous stimuli in terms of laughter and smiling (McGhee 1979). 22 British informants watched seven video-clips containing examples of veh in their original language (English) and recorded their hr to each clip. Similarly, 34 Italians recorded their HR to the same clips in their dubbed and/or subtitled Italian versions. A t-test for independent samples on informants’ responses revealed that the Italians’ hr was slightly lower than that of the British respondents thus implying that translational impact on hr was minimal.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
A small-scale investigation was carried out to explore how Italian audiences perceive Verbally Expressed Humour (VEH) when it is translated for the screen and how far translation might have an impact on individual Humour Responses (HR); i.e. the physiological responses to humorous stimuli in terms of laughter and smiling (McGhee 1979). 22 British informants watched seven video-clips containing examples of veh in their original language (English) and recorded their hr to each clip. Similarly, 34 Italians recorded their HR to the same clips in their dubbed and/or subtitled Italian versions. A t-test for independent samples on informants’ responses revealed that the Italians’ hr was slightly lower than that of the British respondents thus implying that translational impact on hr was minimal.
2006
Chiaro, Delia Carmela
The Language of Jokes: Analyzing Verbal Play Book
Routledge, 2006, ISBN: 9780203135143.
@book{Chiaro2006,
title = {The Language of Jokes: Analyzing Verbal Play},
author = {Delia Carmela Chiaro},
doi = {10.4324/9780203135143},
isbn = {9780203135143},
year = {2006},
date = {2006-12-05},
publisher = {Routledge},
abstract = {In this highly readable and thought-provoking book, Delia Chiaro explores the pragmatics of word play, using frameworks normally adopted in descriptive linguistics. Using examples from personally recorded conversations, she examines the structure of jokes, quips, riddles and asides. Chiaro explores degrees of conformity to and deviation from established conventions; the `tellability' of jokes, and the interpretative role of the listener; the creative use of puns, word play and discourse. The emphasis in her analysis is on sociocultural contexts for the production and reception of jokes, and she examines the extent to which jokes are both universal in their appeal, and specific to a particular culture.},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {book}
}
In this highly readable and thought-provoking book, Delia Chiaro explores the pragmatics of word play, using frameworks normally adopted in descriptive linguistics. Using examples from personally recorded conversations, she examines the structure of jokes, quips, riddles and asides. Chiaro explores degrees of conformity to and deviation from established conventions; the `tellability' of jokes, and the interpretative role of the listener; the creative use of puns, word play and discourse. The emphasis in her analysis is on sociocultural contexts for the production and reception of jokes, and she examines the extent to which jokes are both universal in their appeal, and specific to a particular culture.
Chiaro, Delia Carmela
Verbally Expressed Humour on Screen: Reflections on Translation and Reception Journal Article
In: The Journal of Specialised Translation, vol. 6, pp. 198-208, 2006.
@article{Chiaro2006b,
title = {Verbally Expressed Humour on Screen: Reflections on Translation and Reception},
author = {Delia Carmela Chiaro},
year = {2006},
date = {2006-07-01},
journal = {The Journal of Specialised Translation},
volume = {6},
pages = {198-208},
abstract = {As is well known, the translation of Verbally Expressed Humour (VEH) is an especially thorny issue both practically and theoretically. This paper sets out to discuss the sphere of VEH on screen and how it is received by audiences who are exposed to instances which are mediated linguistically by means of dubbing. 1. Humour and Screen Translation The results of an interview survey carried out in 120 companies involved in the Italian dubbing industry and based in Rome and Milan shows that operators unanimously consider Verbally Expressed Humour (VEH) the most challenging factor in producing good quality translations for the screen (Benincà, 1999: 58-59 and 83-86). This of course fits in perfectly with the wider issue of humour and translation which has traditionally been considered to be a problematic area both from the perspective of its practical translation, in the sense that VEH is notoriously difficult to translate, and from a theoretical point of view owing to the fact that it is at odds with the very tenets of translation theory, the concepts of equivalence and translatability (Vandaele, 2002; Chiaro, 2005). However, no matter how complex issues concerning the translation of written and spoken instances of VEH may be, they are relatively simple when compared to the intricacy of having to translate them when they occur within a text created to be performed on screen. Films are multifaceted semiotic entities simultaneously communicating verbal signs acoustically (dialogue, song lyrics, etc.), visually (written texts, such as letters, newspaper headlines, banners, etc.), non-verbally but acoustically (music, background noises, etc.), and non-verbally but visually (actor's movements, facial expressions, setting, etc.). Yet, the translator's intervention is limited to only one of these aspects, i.e. the dialogue, leaving all the other features unchanged.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
As is well known, the translation of Verbally Expressed Humour (VEH) is an especially thorny issue both practically and theoretically. This paper sets out to discuss the sphere of VEH on screen and how it is received by audiences who are exposed to instances which are mediated linguistically by means of dubbing. 1. Humour and Screen Translation The results of an interview survey carried out in 120 companies involved in the Italian dubbing industry and based in Rome and Milan shows that operators unanimously consider Verbally Expressed Humour (VEH) the most challenging factor in producing good quality translations for the screen (Benincà, 1999: 58-59 and 83-86). This of course fits in perfectly with the wider issue of humour and translation which has traditionally been considered to be a problematic area both from the perspective of its practical translation, in the sense that VEH is notoriously difficult to translate, and from a theoretical point of view owing to the fact that it is at odds with the very tenets of translation theory, the concepts of equivalence and translatability (Vandaele, 2002; Chiaro, 2005). However, no matter how complex issues concerning the translation of written and spoken instances of VEH may be, they are relatively simple when compared to the intricacy of having to translate them when they occur within a text created to be performed on screen. Films are multifaceted semiotic entities simultaneously communicating verbal signs acoustically (dialogue, song lyrics, etc.), visually (written texts, such as letters, newspaper headlines, banners, etc.), non-verbally but acoustically (music, background noises, etc.), and non-verbally but visually (actor's movements, facial expressions, setting, etc.). Yet, the translator's intervention is limited to only one of these aspects, i.e. the dialogue, leaving all the other features unchanged.
2005
Chiaro, Delia Carmela
Foreword. Verbally Expressed Humor and translation: An overview of a neglected field Journal Article
In: Humor - International Journal of Humor Research, vol. 18, no. 2, pp. 135-145, 2005.
@article{Chiaro2005,
title = {Foreword. Verbally Expressed Humor and translation: An overview of a neglected field},
author = {Delia Carmela Chiaro},
doi = {10.1515/humr.2005.18.2.135},
year = {2005},
date = {2005-06-20},
journal = {Humor - International Journal of Humor Research},
volume = {18},
number = {2},
pages = {135-145},
abstract = {HUMOR was established as an international interdisciplinary forum for the publication of high-quality research papers on humor as an important and universal human faculty. Humor research draws upon a wide range of academic disciplines including anthropology, biology, cultural studies, computer science, education, communication, film and media studies, gender studies, history, linguistics, literature, mathematics, health and medicine, philosophy, political science, psychology, and sociology. At the same time, humor research often sheds light on the basic concepts, ideas, and methods of many of these disciplines.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
HUMOR was established as an international interdisciplinary forum for the publication of high-quality research papers on humor as an important and universal human faculty. Humor research draws upon a wide range of academic disciplines including anthropology, biology, cultural studies, computer science, education, communication, film and media studies, gender studies, history, linguistics, literature, mathematics, health and medicine, philosophy, political science, psychology, and sociology. At the same time, humor research often sheds light on the basic concepts, ideas, and methods of many of these disciplines.
Chiaro, Delia Carmela; Nocella, Giuseppe
Looking Quality Research in the Eye: are we beholding the splinter and ignoring the beam? Journal Article
In: The Interpreters’ Newsletter. Quality in Interpreting, pp. 167-199, 2005.
@article{Chiaro2005b,
title = {Looking Quality Research in the Eye: are we beholding the splinter and ignoring the beam?},
author = {Delia Carmela Chiaro and Giuseppe Nocella},
year = {2005},
date = {2005-01-01},
journal = {The Interpreters’ Newsletter. Quality in Interpreting},
pages = {167-199},
abstract = {The aim of Chiaro and Nocella’s article (2004) which has been much quoted by Franz Pöchhacker in this issue, was not to boast their competence in slick and sophisticated statistical techniques. Neither was it to be excessively harsh on researchers who were, after all, pioneers in bringing survey techniques to Interpreting Studies (IS) in the first place. Chiaro and Nocella’s aim, nonetheless, was to underscore a certain lackadaisical attitude rampant in several attempts at questionnaire based quality research (QBQR) in this field. However, as Pöchhacker casts doubts on the reliability of their study, the authors cannot do otherwise but jump to their own defence1. In fact, much as Pöchhacker’s re-elaboration of existing data does him honour (this issue: 150-154), as we intend to demonstrate in this essay, it cannot, and indeed does not disguise the existing general lack of methodological expertise and rigour present in many attempts at QBQR in IS. Furthermore, while grateful to Pöchhacker for having pointed out a series of shortcomings in their work, Chiaro and Nocella wish to accept total responsibility for each and every weakness, rather than take refuge behind the shield of poor refereeing. Presumably all attempts at research have their strengths and weaknesses. What is important is that the latter do not outnumber the former, otherwise our incessant quest for knowledge could well go awry.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
The aim of Chiaro and Nocella’s article (2004) which has been much quoted by Franz Pöchhacker in this issue, was not to boast their competence in slick and sophisticated statistical techniques. Neither was it to be excessively harsh on researchers who were, after all, pioneers in bringing survey techniques to Interpreting Studies (IS) in the first place. Chiaro and Nocella’s aim, nonetheless, was to underscore a certain lackadaisical attitude rampant in several attempts at questionnaire based quality research (QBQR) in this field. However, as Pöchhacker casts doubts on the reliability of their study, the authors cannot do otherwise but jump to their own defence1. In fact, much as Pöchhacker’s re-elaboration of existing data does him honour (this issue: 150-154), as we intend to demonstrate in this essay, it cannot, and indeed does not disguise the existing general lack of methodological expertise and rigour present in many attempts at QBQR in IS. Furthermore, while grateful to Pöchhacker for having pointed out a series of shortcomings in their work, Chiaro and Nocella wish to accept total responsibility for each and every weakness, rather than take refuge behind the shield of poor refereeing. Presumably all attempts at research have their strengths and weaknesses. What is important is that the latter do not outnumber the former, otherwise our incessant quest for knowledge could well go awry.
2004
Chiaro, Delia Carmela
Translational and marketing communication: A comparison of print and web advertising of Italian agro-food products Journal Article
In: The Translator, vol. 10, no. 2, pp. 313-328, 2004.
@article{Chiaro2004b,
title = {Translational and marketing communication: A comparison of print and web advertising of Italian agro-food products},
author = {Delia Carmela Chiaro},
year = {2004},
date = {2004-11-01},
journal = {The Translator},
volume = {10},
number = {2},
pages = {313-328},
abstract = {One of the many effects of the new economy has been the deconstruction of traditional market channel distribution. Today, the traditional 'producer-wholesaler-retailer-consumer' sequence of buying and selling is changing as the World Wide Web has created a direct link between producer and customer (B2C) and between producer and producer (B2B).1 Like many other economies, the Italian one, which is largely based on small and medium sized industries, has had to come to terms with the challenge of competing in this new marketplace, with the handicap of having to do so in a language other than its own. This paper sets out to investigate how the Italian agro-food sector promotes its products beyond the national market. In order to examine the interdependence between medium and message, a corpus of electronic promotional texts for Italian foodstuff is compared and contrasted with a comparable corpus of printed advertising material from specialized magazines in English. After examining common strategies adopted in the two media, specific translation strategies adopted in the web corpus are analyzed.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
One of the many effects of the new economy has been the deconstruction of traditional market channel distribution. Today, the traditional 'producer-wholesaler-retailer-consumer' sequence of buying and selling is changing as the World Wide Web has created a direct link between producer and customer (B2C) and between producer and producer (B2B).1 Like many other economies, the Italian one, which is largely based on small and medium sized industries, has had to come to terms with the challenge of competing in this new marketplace, with the handicap of having to do so in a language other than its own. This paper sets out to investigate how the Italian agro-food sector promotes its products beyond the national market. In order to examine the interdependence between medium and message, a corpus of electronic promotional texts for Italian foodstuff is compared and contrasted with a comparable corpus of printed advertising material from specialized magazines in English. After examining common strategies adopted in the two media, specific translation strategies adopted in the web corpus are analyzed.
Chiaro, Delia Carmela; Nocella, Giuseppe
Interpreters’ Perception of Linguistic and Non-Linguistic Factors Affecting Quality: A Survey through the World Wide Web Journal Article
In: Meta, vol. 49, no. 2, pp. 278-293, 2004.
@article{Chiaro2004,
title = {Interpreters’ Perception of Linguistic and Non-Linguistic Factors Affecting Quality: A Survey through the World Wide Web},
author = {Delia Carmela Chiaro and Giuseppe Nocella},
doi = {10.7202/009351ar},
year = {2004},
date = {2004-06-01},
journal = {Meta},
volume = {49},
number = {2},
pages = {278-293},
abstract = {This paper will present and discuss the results of an empirical study on perception of quality in interpretation carried out on a sample of 286 interpreters across five continents. Since the 1980’s the field of Interpreting Studies has been witnessing an ever growing interest in the issue of quality in interpretation both in academia and in professional circles, but research undertaken so far is surprisingly lacking in methodological rigour. This survey is an attempt to revise previous studies on interpreters’ perception of quality through the implementation of new Information Technology which allowed us to administer a traditional research tool such as a questionnaire, in a highly innovative way; i.e., through the World Wide Web. Using multidimensional scaling, a perceptual map based upon the results of the manner in which interpreters ranked a list of linguistic and non-linguistic criteria according to their perception of importance in the interpretative process, was devised.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
This paper will present and discuss the results of an empirical study on perception of quality in interpretation carried out on a sample of 286 interpreters across five continents. Since the 1980’s the field of Interpreting Studies has been witnessing an ever growing interest in the issue of quality in interpretation both in academia and in professional circles, but research undertaken so far is surprisingly lacking in methodological rigour. This survey is an attempt to revise previous studies on interpreters’ perception of quality through the implementation of new Information Technology which allowed us to administer a traditional research tool such as a questionnaire, in a highly innovative way; i.e., through the World Wide Web. Using multidimensional scaling, a perceptual map based upon the results of the manner in which interpreters ranked a list of linguistic and non-linguistic criteria according to their perception of importance in the interpretative process, was devised.
2002
Chiaro, Delia Carmela
Linguistic mediation on Italian television Book Chapter
In: pp. 215-225, 2002.
@inbook{Chiaro2002,
title = {Linguistic mediation on Italian television},
author = {Delia Carmela Chiaro},
doi = {10.1075/btl.43.21chi},
year = {2002},
date = {2002-01-01},
pages = {215-225},
type = {inbook},
keywords = {},
pubstate = {published},
tppubtype = {inbook}
}
1994
Chiaro, Delia Carmela
The Language of Jokes: Analysing Verbal Play Journal Article
In: Language 70(2) DOI:, vol. 70, no. 2, 1994.
@article{Chiaro1994,
title = {The Language of Jokes: Analysing Verbal Play},
author = {Delia Carmela Chiaro},
doi = {10.2307/415846},
year = {1994},
date = {1994-06-01},
journal = {Language 70(2) DOI:},
volume = {70},
number = {2},
abstract = {In this highly readable and thought-provoking book, Delia Chiaro explores the pragmatics of word play, using frameworks normally adopted in descriptive linguistics. Using examples from personally recorded conversations, she examines the structure of jokes, quips, riddles and asides. Chiaro explores degrees of conformity to and deviation from established conventions; thetellability'of jokes, and the interpretative role of the listener; the creative use of puns, word play and discourse. The emphasis in her analysis is on sociocultural contexts for the production and reception of jokes, and she examines the extent to which jokes are both universal in their appeal, and specific to a particular culture.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
In this highly readable and thought-provoking book, Delia Chiaro explores the pragmatics of word play, using frameworks normally adopted in descriptive linguistics. Using examples from personally recorded conversations, she examines the structure of jokes, quips, riddles and asides. Chiaro explores degrees of conformity to and deviation from established conventions; thetellability'of jokes, and the interpretative role of the listener; the creative use of puns, word play and discourse. The emphasis in her analysis is on sociocultural contexts for the production and reception of jokes, and she examines the extent to which jokes are both universal in their appeal, and specific to a particular culture.