![]() ![]() By means of a qualitative analysis of a corpus of three US-based legal dramas (The Good Wife, Suits and Boston Legal), this research paper aims at observing interactions among expert (lawyers and judges) and non-expert characters (witnesses and clients) which are exploited by the legal drama authors to provide the audience with explanations about legal principles and practices. ![]() ![]() Besides their entertainment value, in fact, legal dramas can also serve a popularizing and pedagogical function: studies on FASP (Fiction à Substrat Professionnel) have proved the possibility of exploiting fictional genres in language acquisition, in particular professional competence in ESP courses (Petit 1999, Isani 2004, 2006a, 2006b, Chapon 2011, O’ Connell 2012). According to Bhatia (1997: 191) the use of a particular generic form “as a template to give expression to another conventionally distinct generic form” represents an instance of ‘genre embedding’ and creates ‘genre hybridity’ (see also Bhatia 2004). all the trial phases) are embedded and recontextualized into a fictional frame serving the main entertainment purpose of this genre. Legal dramas are TV fictions staging the professional and private life of judges and lawyers, in which specialized language (legal terminology, courtroom formulae etc.) and specialized genres (e.g. In addition, Colombo's lexical selection discards many of Motti's stylized and imaginative peculiarities and is more realistic and loyal to low-register Italian. Our findings show that Colombo succeeded in decreasing the lexical richness and fragmenting syntactic structures in order to reflect Holden Caulfield's highly repetitive idiolect. The study uses a quali-quantitative approach focussing on both lexicometric measurements and lexical aspects that can shed light on the purportedly updated imitation of teenage colloquial Italian. This paper examines the main differences between Motti's translation and Matteo Colombo's 2014 version, which was produced with the explicit aim of " rejuvenating " its language. Similarly, Adriana Motti's 1961 Italian translation of the novel was hailed as a literary turning point because of its linguistic innovations. Although he introduced no novelty in terms of narrative technique, Salinger achieved a realistic reproduction of teenage informal speech that was instrumental to the book's artistic and poetic success. The Catcher in the Rye is a cult book of the 20 th Century. ![]()
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