{"id":1119,"date":"2020-06-18T09:39:26","date_gmt":"2020-06-18T09:39:26","guid":{"rendered":"http:\/\/stage.annamariamartinolli.it\/?page_id=1119"},"modified":"2020-07-16T11:32:18","modified_gmt":"2020-07-16T09:32:18","slug":"translation-examples","status":"publish","type":"page","link":"https:\/\/stage.annamariamartinolli.it\/en\/services\/translation-examples\/","title":{"rendered":"Translation examples"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2z1n06-592bbea1cf25428cd86ca44e6c833dbf\">\n.avia-section.av-2z1n06-592bbea1cf25428cd86ca44e6c833dbf .av-parallax .av-parallax-inner{\nbackground-repeat:no-repeat;\nbackground-image:url(https:\/\/stage.annamariamartinolli.it\/wp-content\/uploads\/2020\/06\/et-sfondo.jpeg);\nbackground-position:50% 50%;\nbackground-attachment:scroll;\n}\n.avia-section.av-2z1n06-592bbea1cf25428cd86ca44e6c833dbf .av-section-color-overlay{\nopacity:0.2;\nbackground-color:#000000;\n}\n<\/style>\n<div id='av_section_1'  class='avia-section av-2z1n06-592bbea1cf25428cd86ca44e6c833dbf main_color avia-section-large avia-no-shadow  avia-builder-el-0  el_before_av_section  avia-builder-el-first  avia-full-stretch av-parallax-section avia-bg-style-parallax av-section-color-overlay-active container_wrap sidebar_right'  data-section-bg-repeat='stretch'><div class='av-parallax' data-avia-parallax-ratio='0.3' ><div class='av-parallax-inner main_color avia-full-stretch'><\/div><\/div><div class=\"av-section-color-overlay-wrap\"><div class=\"av-section-color-overlay\"><\/div><div class='container av-section-cont-open' ><main  role=\"main\" itemprop=\"mainContentOfPage\"  class='template-page content  av-content-small alpha units'><div class='post-entry post-entry-type-page post-entry-1119'><div class='entry-content-wrapper clearfix'>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kbklfhof-afc5f9febb8c173a7b31f3b33be1a8b2\">\n#top .av-special-heading.av-kbklfhof-afc5f9febb8c173a7b31f3b33be1a8b2{\npadding-bottom:0;\ncolor:#ffffff;\nfont-size:50px;\n}\nbody .av-special-heading.av-kbklfhof-afc5f9febb8c173a7b31f3b33be1a8b2 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n#top #wrap_all .av-special-heading.av-kbklfhof-afc5f9febb8c173a7b31f3b33be1a8b2 .av-special-heading-tag{\nfont-size:50px;\n}\n.av-special-heading.av-kbklfhof-afc5f9febb8c173a7b31f3b33be1a8b2 .special-heading-inner-border{\nborder-color:#ffffff;\n}\n.av-special-heading.av-kbklfhof-afc5f9febb8c173a7b31f3b33be1a8b2 .av-subheading{\nfont-size:15px;\n}\n\n@media only screen and (min-width: 480px) and (max-width: 767px){ \n#top #wrap_all .av-special-heading.av-kbklfhof-afc5f9febb8c173a7b31f3b33be1a8b2 .av-special-heading-tag{\nfont-size:0.8em;\n}\n}\n\n@media only screen and (max-width: 479px){ \n#top #wrap_all .av-special-heading.av-kbklfhof-afc5f9febb8c173a7b31f3b33be1a8b2 .av-special-heading-tag{\nfont-size:0.8em;\n}\n}\n<\/style>\n<div  class='av-special-heading av-kbklfhof-afc5f9febb8c173a7b31f3b33be1a8b2 av-special-heading-h3 custom-color-heading blockquote modern-quote modern-centered  avia-builder-el-1  el_before_av_hr  avia-builder-el-first  av-inherit-size'><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >Translation examples<\/h3><div class='av_custom_color av-subheading av-subheading_below'><p>Some examples of translation into Italian, with source texts written in English, French and Spanish<\/p>\n<\/div><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-9d5n2-28e1c60fb1a6af50800831031043bd64\">\n#top .hr.av-9d5n2-28e1c60fb1a6af50800831031043bd64{\nmargin-top:30px;\nmargin-bottom:30px;\n}\n.hr.av-9d5n2-28e1c60fb1a6af50800831031043bd64 .hr-inner{\nwidth:20%;\nborder-color:rgba(255,255,255,0.76);\nmax-width:45%;\n}\n.hr.av-9d5n2-28e1c60fb1a6af50800831031043bd64 .av-seperator-icon{\ncolor:#ffffff;\n}\n.hr.av-9d5n2-28e1c60fb1a6af50800831031043bd64 .av-seperator-icon.avia-svg-icon svg:first-child{\nfill:#ffffff;\nstroke:#ffffff;\n}\n<\/style>\n<div  class='hr av-9d5n2-28e1c60fb1a6af50800831031043bd64 hr-custom  avia-builder-el-2  el_after_av_heading  avia-builder-el-last  hr-center hr-icon-yes'><span class='hr-inner inner-border-av-border-thin'><span class=\"hr-inner-style\"><\/span><\/span><span class='av-seperator-icon avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue8bf' data-av_iconfont='entypo-fontello' ><\/span><span class='hr-inner inner-border-av-border-thin'><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n\n<\/div><\/div><\/main><!-- close content main element --><\/div><\/div><\/div><div id='av_section_2'  class='avia-section av-2e36ie-d828285aeacc12f3bb455f9e7e58fa6f main_color avia-section-small avia-no-border-styling  avia-builder-el-3  el_after_av_section  avia-builder-el-last  avia-bg-style-fixed container_wrap sidebar_right'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-small alpha units'><div class='post-entry post-entry-type-page post-entry-1119'><div class='entry-content-wrapper clearfix'>\n<div class='flex_column_table av-2a6uta-ab573966c36c2cbb240893429ed49cf5 sc-av_two_third av-equal-height-column-flextable'>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2a6uta-ab573966c36c2cbb240893429ed49cf5\">\n#top .flex_column_table.av-equal-height-column-flextable.av-2a6uta-ab573966c36c2cbb240893429ed49cf5{\nmargin-top:-60px;\nmargin-bottom:-60px;\n}\n.flex_column.av-2a6uta-ab573966c36c2cbb240893429ed49cf5{\nborder-radius:0px 0px 0px 0px;\npadding:30px 30px 30px 30px;\nbackground-color:#ffffff;\n}\n<\/style>\n<div  class='flex_column av-2a6uta-ab573966c36c2cbb240893429ed49cf5 av_two_third  avia-builder-el-4  el_before_av_one_third  avia-builder-el-first  first no_margin flex_column_table_cell av-equal-height-column av-align-top  '     ><div  class='tabcontainer av-kbkhx6m5-d0782ddd3be8b5717453c855aa7997c4 top_tab  avia-builder-el-5  avia-builder-el-no-sibling '>\n<section class='av_tab_section av_tab_section av-av_tab-e7ff3c186140c6e7e3937d7f9e3948a7'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div id='tab-id-1-tab' class='tab active_tab' role='tab' aria-selected=\"true\" tabindex=\"0\" data-fake-id='#tab-id-1' aria-controls='tab-id-1-content'  itemprop=\"headline\" ><span class='tab_icon avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue85d' data-av_iconfont='entypo-fontello' ><\/span>Psycology<\/div><div id='tab-id-1-content' class='tab_content active_tab_content' role='tabpanel' aria-labelledby='tab-id-1-tab' aria-hidden=\"false\"><div class='tab_inner_content invers-color'  itemprop=\"text\" ><p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>EN<\/span>The comparison films consisted of the two highest box office grossing films in the same year of release as each animated film, excluding sequels, that received a genre tag of \u201cdrama\u201d by the Internet Movie Database. We reasoned that these films were more likely to be viewed solely by adult audiences. In cases in which more than one animated film for a given release year was included, we also selected the next two top grossing dramatic films of that year (for instance, third and fourth) for comparison. We excluded films that were additionally tagged with \u201caction\u201d or \u201cadventure\u201d because they are often also marketed to, and viewed by, young children. The comparison group nevertheless included a range of subgenres, including horror (for example, <em>The Exorcism of Emily Rose<\/em>, <em>What Lies Beneath<\/em>) and thriller (for example, <em>Pulp Fiction<\/em>, <em>The Departed<\/em>, <em>Black Swan<\/em>).<\/p>\n<div  class='hr av-akhtq-b7dc0df21dd035ff44afa62a5b76fc19 hr-short  avia-builder-el-6  el_before_av_hr  avia-builder-el-first  hr-center'><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>IT<\/span>I film oggetto di comparazione includono i due film che hanno registrato i maggiori incassi al botteghino nello stesso anno di uscita del film di animazione in esame, etichettati come \u201cdrammatico\u201d dall\u2019Internet Movie Database ed escludendo i sequel. Abbiamo ritenuto che ci fosse una maggiore probabilit\u00e0 per questi film di essere visti dal solo pubblico adulto. Se nella lista \u00e8 stato incluso pi\u00f9 di un film di animazione per lo stesso anno, abbiamo selezionato i due film drammatici al terzo e al quarto posto degli incassi al botteghino come comparazione. Abbiamo escluso i film etichettati come \u201cazione\u201d o \u201cavventura\u201d in quanto distribuiti, e visti, anche dai ragazzi. Il gruppo di film oggetto di comparazione contiene comunque numerosi sottogeneri, tra cui l\u2019horror (<em>L\u2019esorcismo di Emily Rose<\/em>, <em>Le verit\u00e0 nascoste<\/em>) e il thriller (<em>Pulp Fiction<\/em>, <em>The Departed<\/em>, <em>Il cigno nero<\/em>).<\/p>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4\">\n#top .hr.hr-invisible.av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4{\nheight:10px;\n}\n<\/style>\n<div  class='hr av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4 hr-invisible  avia-builder-el-7  el_after_av_hr  el_before_av_hr '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<\/div><\/div><\/section>\n<section class='av_tab_section av_tab_section av-9uvfzj-e7696abd9749c3c27bbcfaa1b491e6fe'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div id='tab-id-2-tab' class='tab' role='tab' aria-selected=\"false\" tabindex=\"0\" data-fake-id='#tab-id-2' aria-controls='tab-id-2-content'  itemprop=\"headline\" ><span class='tab_icon avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue85d' data-av_iconfont='entypo-fontello' ><\/span>Tourism<\/div><div id='tab-id-2-content' class='tab_content' role='tabpanel' aria-labelledby='tab-id-2-tab' aria-hidden=\"true\"><div class='tab_inner_content invers-color'  itemprop=\"text\" ><p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>EN<\/span>From the spectacular scenery of the Black Forest to the fairytale castles of Bavaria and cutting-edge cities like Berlin, Frankfurt and Hamburg, Germany is rife with contrasts. But these differences only serve to showcase its incredible diversity. Located at the heart of Europe, this is a country whose history spans millennia, and whose geography stretches from the North Sea to the Alps via vineyards, mountains, Medieval villages and more. It\u2019s for these destinations, and attractions like Cologne Cathedral, Neuschwanstein Castle, Berlin\u2019s Bundestag and Munich\u2019s Hofbr\u00e4uhaus that more than 37 million people visit Germany every year. But the country is equally accomplished in industry, and is known worldwide as a leader in automotive engineering. Consequently, as many business travellers make a trip to Germany as leisure tourists, and the country is a regular host for international trade shows and fairs.<\/p>\n<div  class='hr av-akhtq-b7dc0df21dd035ff44afa62a5b76fc19 hr-short  avia-builder-el-8  el_after_av_hr  el_before_av_hr  hr-center'><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>IT<\/span>Gli spettacolari paesaggi della Foresta Nera, i castelli da favola della Baviera e citt\u00e0 all\u2019avanguardia come Berlino, Francoforte e Amburgo fanno della Germania un paese ricco di contrasti. Eppure, queste differenze hanno l\u2019unico scopo di mettere in risalto la sua diversit\u00e0. Situato nel cuore dell\u2019Europa, la Germania \u00e8 un paese dalla storia millenaria che si estende geograficamente dal Mare del Nord alle Alpi attraverso chilometri di vigneti, montagne, villaggi medievali e altre meraviglie.<br \/>\nIl Duomo di Colonia, il Castello di Neuschwanstein, il Palazzo del Reichstag e la Hofbr\u00e4uhaus di Monaco sono solo alcune delle attrazioni, oltre a quelle gi\u00e0 citate, che spingono pi\u00f9 di 37 milioni di persone a visitare la Germania ogni anno. La Germania si distingue anche per la sua eccellenza industriale ed \u00e8 conosciuta, a livello mondiale, come uno dei paesi leader nell\u2019ingegneria automobilistica. Questo determina un notevole flusso di uomini d\u2019affari che decidono di compiere un viaggio in Germania a scopo di piacere, e consente al paese di ospitare spesso esposizioni professionali internazionali e fiere.<\/p>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4\">\n#top .hr.hr-invisible.av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4{\nheight:10px;\n}\n<\/style>\n<div  class='hr av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4 hr-invisible  avia-builder-el-9  el_after_av_hr  el_before_av_hr '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<\/div><\/div><\/section>\n<section class='av_tab_section av_tab_section av-av_tab-3bdfd16291461b8b3d679e5e78e2ce86'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div id='tab-id-3-tab' class='tab' role='tab' aria-selected=\"false\" tabindex=\"0\" data-fake-id='#tab-id-3' aria-controls='tab-id-3-content'  itemprop=\"headline\" ><span class='tab_icon avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue85d' data-av_iconfont='entypo-fontello' ><\/span>Cinema<\/div><div id='tab-id-3-content' class='tab_content' role='tabpanel' aria-labelledby='tab-id-3-tab' aria-hidden=\"true\"><div class='tab_inner_content invers-color'  itemprop=\"text\" ><p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>EN<\/span>In the Philippine jungle, in the typhoon season of 1976, things were not going well for Martin Sheen and his 14-year-old son Emilio Estevez. &#8216;I just wanted to be home,\u2019 Estevez recalls. &#8216;I was losing my mind.\u2019<br \/>\nSheen, in south-east Asia to film Francis Ford Coppola\u2019s Vietnam epic Apocalypse Now, was enduring a punishing shooting schedule. A combination of the extreme weather, a volatile political situation and the director\u2019s habit of changing the script meant that the scheduled five-month shoot had become open-ended, chaotic and increasingly expensive.<br \/>\nThe erratic behaviour of the male lead \u2013 who had brought his children and his wife, the artist Janet Templeton, with him \u2013 wasn\u2019t helping matters. Sheen was drinking heavily during the shoot. The film\u2019s legendary opening sequence in a Saigon hotel room depicts his character, army assassin Capt Benjamin Willard \u2013 alone, dangerous and emotional \u2013 smashing his fist through a mirror and smearing his face with blood. Sheen didn\u2019t have to act so much: it was his 36th birthday, and he was very drunk.<br \/>\n&#8216;I hated him when he got drunk, because he\u2019d get violent,\u2019 recalls Estevez, who had a combative relationship with his father. &#8216;Some of it he may remember, some of it he may not. But, yeah, it was horrible. And because I was the oldest, it was always directed at me. But I think the Philippines was the last physical fight we had. The older I got, I started lifting weights and getting stronger, so<br \/>\nI was like, \u201cCome on, let\u2019s go\u2026\u201d.<\/p>\n<div  class='hr av-akhtq-b7dc0df21dd035ff44afa62a5b76fc19 hr-short  avia-builder-el-10  el_after_av_hr  el_before_av_hr  hr-center'><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>IT<\/span>Nel 1976, nella giungla delle Filippine, durante la stagione dei tifoni, le cose si stavano mettendo proprio male per Martin Sheen e suo figlio, allora quattordicenne, Emilio Estevez. \u201cVolevo solo tornarmene a casa\u201d, ricorda Estevez, \u201cstavo perdendo la testa\u201d.<br \/>\nSheen, che si trovava nel sudest asiatico per girare Apocalypse Now di Francis Ford Coppola, il film epico ambientato in Vietnam, stava sopportando un estenuante periodo di riprese. Le difficili condizioni meteorologiche, l\u2019instabile situazione politica del paese e l\u2019abitudine del regista di modificare continuamente la sceneggiatura, avevano fatto s\u00ec che i cinque mesi previsti di riprese si allungassero all\u2019infinito, diventando caotici e sempre pi\u00f9 costosi.<br \/>\nL\u2019eccentrico comportamento del protagonista maschile, poi, che aveva portato con s\u00e9 la moglie, l\u2019artista Janet Templeton, e i quattro figli, non migliorava di certo le cose. Martin Sheen beveva parecchio durante le riprese. La leggendaria sequenza d\u2019apertura, ambientata in una stanza d\u2019albergo di Saigon, ci mostra il suo personaggio, il Capitano Benjamin Willard, sicario dell\u2019esercito, uomo solo, pericoloso ed emotivamente instabile, mentre prende a pugni lo specchio e si sporca il viso di sangue. Sheen in realt\u00e0 non dovette faticare molto per entrare nella parte: era il giorno del suo trentaseiesimo compleanno ed era completamente ubriaco.<br \/>\n\u201cLo odiavo quando beveva, perch\u00e9 diventava violento\u201d, ricorda Estevez, che all\u2019epoca aveva un rapporto molto conflittuale con il padre. \u201cQualcosa di quel periodo se lo ricorda, qualcos\u2019altro l\u2019ha rimosso, ma era una situazione davvero terribile. Io, poi, ero il figlio maggiore e se la prendeva sempre con me. Penso comunque che il periodo delle Filippine sia stato l\u2019ultimo scontro fisico che abbiamo avuto. Crescendo ho iniziato a fare sollevamento pesi e a diventare pi\u00f9 forte, quindi reagivo dicendogli: \u201cForza, fatti sotto\u2026\u201d.<\/p>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4\">\n#top .hr.hr-invisible.av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4{\nheight:10px;\n}\n<\/style>\n<div  class='hr av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4 hr-invisible  avia-builder-el-11  el_after_av_hr  el_before_av_hr '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<\/div><\/div><\/section>\n<section class='av_tab_section av_tab_section av-67gfmn-936fe94726707782c501498b145e64e3'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div id='tab-id-4-tab' class='tab' role='tab' aria-selected=\"false\" tabindex=\"0\" data-fake-id='#tab-id-4' aria-controls='tab-id-4-content'  itemprop=\"headline\" ><span class='tab_icon avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue85d' data-av_iconfont='entypo-fontello' ><\/span>Dissertation<\/div><div id='tab-id-4-content' class='tab_content' role='tabpanel' aria-labelledby='tab-id-4-tab' aria-hidden=\"true\"><div class='tab_inner_content invers-color'  itemprop=\"text\" ><p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>EN<\/span>A traditional definition of idiom can be more or less as the following: an idiom is a fixed expression whose meaning cannot be inferred from the meaning of its parts. Although at first sight straightforward, there is a curious element of circularity in this definition. It indicates that the meaning of an idiom cannot be inferred from (or, more precisely, cannot be accounted for as compositional function of) the meanings the part carry in that expression.<br \/>\nThe definition must be understood as stating that an idiom is an expression whose meaning cannot be accounted for as a compositional function of the meanings its parts have when they are not parts of idioms. The circularity is now plain: to apply the definition, the speaker must already be in a position to distinguish idiomatic from non-idiomatic expressions.<br \/>\nIdioms occupy a very important region in a multidimensional lexical space, characterized by a number of distinct properties: semantic, syntactic, poetical, discursive, and rhetorical.<\/p>\n<div  class='hr av-akhtq-b7dc0df21dd035ff44afa62a5b76fc19 hr-short  avia-builder-el-12  el_after_av_hr  el_before_av_hr  hr-center'><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>IT<\/span>Una tipica definizione di <em>idiom<\/em> \u00e8 pi\u00f9 o meno la seguente: un <em>idiom<\/em> \u00e8 un\u2019espressione fissa il cui significato non pu\u00f2 essere dedotto dal significato delle singole parti che lo compongono. Bench\u00e9 a prima vista possa sembrare semplice, questa definizione presenta un curioso fattore di circolarit\u00e0. Rivela che il significato di un <em>idiom<\/em> non pu\u00f2 essere dedotto dai (o, per essere pi\u00f9 precisi, non pu\u00f2 essere ritenuto funzione composizionale dei) significati apportati nell\u2019espressione dalle singole parti. La definizione deve essere intesa nel senso che un <em>idiom<\/em> \u00e8 un\u2019espressione il cui significato non pu\u00f2 essere ritenuto funzione composizionale dei significati che i suoi elementi hanno quando non fanno parte dell\u2019<em>idiom<\/em>. La circolarit\u00e0 \u00e8 ora evidente: per applicare la definizione, il parlante deve gi\u00e0 essere in grado di distinguere le espressioni idiomatiche da quelle non idiomatiche. Gli <em>idioms<\/em> occupano un\u2019area molto importante all\u2019interno dello spazio lessicale multidimensionale, caratterizzata da un certo numero di propriet\u00e0 diverse: semantiche, sintattiche, poetiche, discorsive e retoriche.<\/p>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4\">\n#top .hr.hr-invisible.av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4{\nheight:10px;\n}\n<\/style>\n<div  class='hr av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4 hr-invisible  avia-builder-el-13  el_after_av_hr  el_before_av_hr '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<\/div><\/div><\/section>\n<section class='av_tab_section av_tab_section av-3nyr3j-9df8322a18b8445caa9c5b58718170a7'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div id='tab-id-5-tab' class='tab' role='tab' aria-selected=\"false\" tabindex=\"0\" data-fake-id='#tab-id-5' aria-controls='tab-id-5-content'  itemprop=\"headline\" ><span class='tab_icon avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue85d' data-av_iconfont='entypo-fontello' ><\/span>Essay<\/div><div id='tab-id-5-content' class='tab_content' role='tabpanel' aria-labelledby='tab-id-5-tab' aria-hidden=\"true\"><div class='tab_inner_content invers-color'  itemprop=\"text\" ><p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>EN<\/span>There comes a time in every one&#8217;s life when he feels he was born to be an actor. Something within him tells him that he is the coming man, and that one day he will electrify the world. Then he burns with a desire to show them how the thing&#8217;s done, and to draw a salary of three hundred a week.<br \/>\nThis sort of thing generally takes a man when he is about nineteen, and lasts till he is nearly twenty. But he doesn&#8217;t know this at the time.He thinks he has got hold of an inspiration all to himself a kind of solemn &#8220;call,&#8221; which it would be wicked to disregard ; and when he finds that there are obstacles in the way of his immediate appearance as Hamlet at a leading West-end theater, he is blighted.<br \/>\nI myself caught it in the usual course. I was at the theater one evening to see Romeo and Juliet played, when it suddenly flashed across me that that was my vocation. I thought all acting was making love in tights to pretty women, and I determined to devote my life to it. When I communicated my heroic resolution to my friends, they reasoned with me. That is, they called me a fool ; and then said that they had always thought me a sensible fellow, though that was the first I had ever heard of it.<\/p>\n<div  class='hr av-akhtq-b7dc0df21dd035ff44afa62a5b76fc19 hr-short  avia-builder-el-14  el_after_av_hr  el_before_av_hr  hr-center'><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>IT<\/span>Nella vita di ognuno di noi arriva un momento in cui ci rendiamo conto di essere nati per fare gli attori. Qualcosa, nelle profondit\u00e0 di noi stessi, ci dice che siamo gli uomini del futuro, e che un giorno elettrizzeremo il mondo. Poi, iniziamo a fremere dal desiderio di dimostrare a tutti come vanno fatte le cose, e di incassare un salario di trecento sterline a settimana.<br \/>\nQuesto tipo di eventi, di solito, si manifesta quando abbiamo diciannove anni e si conclude quando ne abbiamo quasi venti, ma, ovviamente, in quel momento non ne siamo consapevoli. Anzi, siamo convinti di doverci tenere stretta quell\u2019ispirazione da noi interpretata come una sorta di \u201cchiamata\u201d che sarebbe un peccato ignorare. Cos\u00ec, quando ci accorgiamo che ci sono degli ostacoli che si frappongono alla nostra immediata apparizione, nelle vesti di Amleto, sul palcoscenico del pi\u00f9 importante teatro del West End, restiamo delusi.<br \/>\nIo stesso ho sperimentato queste sensazioni sulla mia pelle. Ero a teatro, una sera, mentre davano <em>Romeo e Giulietta<\/em>, quando di colpo mi sono reso conto che quella era la mia vocazione. Ero convinto che il mestiere di attore consistesse nel fare la corte, in calzamaglia, a qualche bella donna ed ero deciso a dedicare la mia vita a questo. Quando informai i miei amici delle mie nobili intenzioni, ne nacque una pacata discussione. Mi diedero del matto e mi dissero che mi avevano sempre ritenuto un tipo assennato, anche se non me lo avevano mai detto.<\/p>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4\">\n#top .hr.hr-invisible.av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4{\nheight:10px;\n}\n<\/style>\n<div  class='hr av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4 hr-invisible  avia-builder-el-15  el_after_av_hr  el_before_av_hr '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<\/div><\/div><\/section>\n<section class='av_tab_section av_tab_section av-29hepr-61fe449fa1b85b625986deacacc40d04'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div id='tab-id-6-tab' class='tab' role='tab' aria-selected=\"false\" tabindex=\"0\" data-fake-id='#tab-id-6' aria-controls='tab-id-6-content'  itemprop=\"headline\" ><span class='tab_icon avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue85d' data-av_iconfont='entypo-fontello' ><\/span>Literature<\/div><div id='tab-id-6-content' class='tab_content' role='tabpanel' aria-labelledby='tab-id-6-tab' aria-hidden=\"true\"><div class='tab_inner_content invers-color'  itemprop=\"text\" ><p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>EN<\/span>The last chapter of <em>Ulysses<\/em> is often referred to as the \u201csoliloquy of Molly Bloom\u201d or the \u201cinterior monologue of Molly Bloom\u201d, but according to Robert Humphrey both these definitions are inaccurate and imprecise, as he points out in one of his essays:<\/p>\n<p style=\"padding-left: 40px;\">What has happened is that <em>monologue int\u00e9rieur<\/em> was clumsily translated into English. But it is palpably true that the methods of the novels in which this device is used are different, and that there are dozens of other novels which use internal monologue which no one would seriously classify as stream of consciousness.<\/p>\n<p>Subsequently, he explains why he believes that Molly\u2019s thoughts are not part of a soliloquy:<\/p>\n<p style=\"padding-left: 40px;\">The monologue is distinct from soliloquy because it is not presented, formally, for the information of the reader. The elements of incoherence and fluidity are emphasized by the complete absence of punctuation, of pronoun references, and of introduction to the persons and events Molly is thinking about, and by the frequent interruption of one idea by another.<\/p>\n<div  class='hr av-akhtq-b7dc0df21dd035ff44afa62a5b76fc19 hr-short  avia-builder-el-16  el_after_av_hr  el_before_av_hr  hr-center'><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<p><span class='av_dropcap2 av-av_dropcap2-bd3e2e98007e8df5c1bbaff1392a902e'>IT<\/span>L\u2019ultimo capitolo dell\u2019<em>Ulisse<\/em> viene spesso denominato \u201cil soliloquio di Molly Bloom\u201d o \u201cil monologo interiore di Molly Bloom\u201d, ma secondo Robert Humphrey entrambe le definizioni sono inesatte o imprecise, come specifica egli stesso in uno dei suoi studi:<\/p>\n<p style=\"padding-left: 40px;\">Il fatto \u00e8 che il termine <em>monologue int\u00e9rieur<\/em> \u00e8 stato malamente tradotto in inglese. Ma \u00e8 senza dubbio vero che la logica dei romanzi in cui si \u00e8 fatto ricorso a questo espediente \u00e8 diversa, e che ci sono dozzine di altri romanzi che utilizzano il monologo interiore senza che questo venga seriamente definito da nessuno come flusso di coscienza.<\/p>\n<p>In seguito egli spiega perch\u00e9 ritiene che i pensieri di Molly non appartengano a un soliloquio:<\/p>\n<p style=\"padding-left: 40px;\">Il monologo \u00e8 diverso dal soliloquio perch\u00e9 formalmente non viene proposto per fornire informazioni al lettore. I fattori di incoerenza e scorrevolezza sono evidenziati dalla totale assenza di punteggiatura, di riferimenti pronominali, e dalla mancata introduzione delle persone e degli avvenimenti a cui Molly sta pensando nonch\u00e9 dalla frequenza con cui un\u2019idea viene interrotta da un\u2019altra.<\/p>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4\">\n#top .hr.hr-invisible.av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4{\nheight:10px;\n}\n<\/style>\n<div  class='hr av-8ubee-5ad0e725ba1dadb57e752be3ed0448a4 hr-invisible  avia-builder-el-17  el_after_av_hr  avia-builder-el-last '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<\/div><\/div><\/section>\n<\/div><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-11xn3q-ab1949c69e1537950d2c57c8fb1915cd\">\n#top .flex_column_table.av-equal-height-column-flextable.av-11xn3q-ab1949c69e1537950d2c57c8fb1915cd{\nmargin-top:-60px;\nmargin-bottom:-60px;\n}\n.flex_column.av-11xn3q-ab1949c69e1537950d2c57c8fb1915cd{\nborder-radius:0px 0px 0px 0px;\npadding:30px 30px 30px 30px;\nbackground-color:#f0f0f0;\n}\n<\/style>\n<div  class='flex_column av-11xn3q-ab1949c69e1537950d2c57c8fb1915cd av_one_third  avia-builder-el-18  el_after_av_two_third  avia-builder-el-last  no_margin flex_column_table_cell av-equal-height-column av-align-top  '     ><div  class='avia-builder-widget-area clearfix  avia-builder-el-19  avia-builder-el-no-sibling '><section id=\"nav_menu-5\" class=\"widget clearfix widget_nav_menu\"><h3 class=\"widgettitle\">Services<\/h3><div class=\"menu-services-container\"><ul id=\"menu-services\" class=\"menu\"><li id=\"menu-item-4140\" class=\"menu-item menu-item-type-post_type menu-item-object-page menu-item-4140\"><a href=\"https:\/\/stage.annamariamartinolli.it\/en\/services\/introduction\/\">Introduction<\/a><\/li>\n<li id=\"menu-item-4141\" class=\"menu-item menu-item-type-post_type menu-item-object-page menu-item-4141\"><a href=\"https:\/\/stage.annamariamartinolli.it\/en\/services\/portfolio\/\">Portfolio<\/a><\/li>\n<li id=\"menu-item-4142\" class=\"menu-item menu-item-type-post_type menu-item-object-page menu-item-4142\"><a href=\"https:\/\/stage.annamariamartinolli.it\/en\/services\/translation-examples\/\">Translation examples<\/a><\/li>\n<li id=\"menu-item-4143\" class=\"menu-item menu-item-type-post_type menu-item-object-page menu-item-4143\"><a href=\"https:\/\/stage.annamariamartinolli.it\/en\/services\/on-translation\/\">On translation<\/a><\/li>\n<\/ul><\/div><span class=\"seperator extralight-border\"><\/span><\/section><\/div><\/div><\/div><!--close column table wrapper. Autoclose: 1 --><\/div><\/div><\/div><!-- close content main div --><\/div><\/div><div id='after_section_2'  class='main_color av_default_container_wrap container_wrap sidebar_right'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-small alpha units'><div class='post-entry post-entry-type-page post-entry-1119'><div class='entry-content-wrapper clearfix'>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":1275,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-1119","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/stage.annamariamartinolli.it\/en\/wp-json\/wp\/v2\/pages\/1119","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/stage.annamariamartinolli.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/stage.annamariamartinolli.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/stage.annamariamartinolli.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/stage.annamariamartinolli.it\/en\/wp-json\/wp\/v2\/comments?post=1119"}],"version-history":[{"count":0,"href":"https:\/\/stage.annamariamartinolli.it\/en\/wp-json\/wp\/v2\/pages\/1119\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/stage.annamariamartinolli.it\/en\/wp-json\/wp\/v2\/pages\/1275"}],"wp:attachment":[{"href":"https:\/\/stage.annamariamartinolli.it\/en\/wp-json\/wp\/v2\/media?parent=1119"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}