Perkus aiuterà l'amico durante un percorso di formazione che lo condurrà a rivedere la sua ingenua interpretazione della realtà, andando oltre l'apparenza. A Chase si affianca Perkus Tooth, un ex critico musicale disoccupato con la passione per i cheeseburger, le cospirazioni e l'arte. Tira avanti sfruttando ciò che resta della fama passata e il rinato interesse dei media per la sua relazione con Janice Trumbull, un'astronauta bloccata nello spazio, dalla quale riceve e-mail d'amore. Therefore, it is suggested that the status of translated children’s literature in the Italian literary “polysystem” (Even-Zohar, 1979, 1990) and, from a general viewpoint, all the cultural, historical and social conditions that influence translators’ activities, determine translation choices that can also tend towards processes different from those proposed by Baker.Ĭhase Insteadman è l'ex bambino prodigio di un vecchio telefilm. The results show that, in the translational subcorpus, simplification, explicitation and normalization processes do not prevail over the non-translational one. In order to achieve this aim, a comparable corpus of translated and non-translated works of classic fiction for children has been collected and analysed using Corpus Linguistics tools and methodologies. The purpose of this study is to test whether simplification, explicitation and normalization apply to Italian translations of children’s books. By comparing a corpus of translated and non-translated English texts, Baker and her research team put forward the hypothesis that translated texts are characterized by some “universal features”, namely simplification, explicitation, normalization and levelling-out. The search for general laws and regularities in Translation Studies gained new momentum in the 1990s when Baker (1993) promoted the use of large electronic corpora as research tools for exploring the linguistic features that render the language of translation different from the language of non-translated texts. The book provides a fascinating new view of the Latin American revolutionaries - from artists to political leaders - who defined art as a fundamental force for the transformation of society and who bequeathed new ways of thinking about the relations among art, ideology, and class, within a revolutionary process.
In addition, the author charts the impact on the revolutionary processes of theories of art and education, articulated by such thinkers as John Dewey and Paulo Freire. Craven considers how each revolution dealt with the pressing problem of creating a 'dialogical art' - one that reconfigures the existing artistic resource rather than one that just reproduces a populist art to keep things as they were. The book not only examines specific artworks originating from each revolution's attempt to deal with the challenge of 'socializing the arts,' but also the engagement of the working classes in Mexico, Cuba, and Nicaragua with a tradition of the fine arts made newly accessible through social transformation. In each case, he demonstrates how the consequences of the revolution reverberated in the arts and cultures far beyond national borders. Craven discusses the structural logic of each movement's artistic project - by whom, how, and for whom artworks were produced - and assesses their legacies. The three great upheavals - in Mexico (1910-40), in Cuba (1959-89), and in Nicaragua (1979-90) - were defining moments in twentieth-century life in the Americas. In this uniquely wide-ranging book, David Craven investigates the extraordinary impact of three Latin American revolutions on the visual arts and on cultural policy.
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