Thesis Chapters by Fabio Ciambella
Poi, sì cantando, quelli ardenti soli si fuor girati intorno a noi tre volte, come stelle vicine ... more Poi, sì cantando, quelli ardenti soli si fuor girati intorno a noi tre volte, come stelle vicine a' fermi poli, donne mi parver, non da ballo sciolte, ma che s'arrestin tacite, ascoltando fin che le nove note hanno ricolte.
Drafts by Fabio Ciambella
This article investigates transtextuality and code-shifting in the computer-animated comedy film ... more This article investigates transtextuality and code-shifting in the computer-animated comedy film Hotel Transylvania, directed by Genndy Tartakovsky and produced by Sony Pictures Animation in 2012. My research focusses on two subjects which lend themselves particularly well to the study of remediation and transmodal adaptation ‒ the characters and the setting. The study uses Lotman's semiotic approach to the analysis of characters and spatiality in literary works as well as Foucault's contribution to this topic (1984: 46ff) and Hutcheon's reading of remediation as presented in A Theory of Adaptation (2006, reprinted in 2012). In the light of these analysis approaches, Hotel Transylvania represents a subverted world, where characters and places undermine Gothic clichés and prototypes in order to offer a solution to the main question posed by Gothic fiction: who is the real monster?
Papers by Fabio Ciambella
Skenè Journal of Theatre and Drama Studies, 2021
This article conducts a corpus linguistics analysis on a series of sixteenth- and seventeenth-cen... more This article conducts a corpus linguistics analysis on a series of sixteenth- and seventeenth-century manuscripts related to the practice of dance at the Inns of Court in London, in order to examine their possible influence on and relationship with terpsichorean lexis in early modern drama. Still considered one of the fewest – if not the only – extant indigenous proofs of the exercise of dance in early modern England before Playford’s The English Dancing Master (1651), these eight MSS have never been analysed in a single dedicated study. Six of them were transcribed and commented on by some scholars in the second half of the twentieth century, while the seventh was discovered and transcribed in 1992 and the eighth only in 2017. In fact, no thorough discussion of their linguistic peculiarities has been carried out, treating them as a dataset to be investigated through corpus linguistics software. In this article, #Lancsbox software is used to carry out a corpus linguistics analysis primarily focused on the specialized lexis of dance as it emerges from the above-mentioned manuscripts. The eight texts considered have been transcribed as part of the Skenè digital open-access archives and then uploaded to #Lancsbox to facilitate analysis. Ultimately, this article aims to shed light on the circulation of the terpsichorean lexis in early modern drama.
In G. Magazzù, V. Rossi and A. Sileo (eds.), Reception Studies and Adaptation: A Focus on Italy. ... more In G. Magazzù, V. Rossi and A. Sileo (eds.), Reception Studies and Adaptation: A Focus on Italy. Newcastle upon Tyne: Cambridge Scholar Publishing, pp. 28-44.
Fictions, 19, 2020
Shipwrecks highlight disruptive moments in Shakespeare’s canon. In total, seven Shakespearean pla... more Shipwrecks highlight disruptive moments in Shakespeare’s canon. In total, seven Shakespearean plays include at least one shipwreck within their plots – namely The Comedy of Errors, The Merchant of Venice, Twelfth Night, Othello, Pericles, The Winter’s Tale and The Tempest. Drawing on cognitive metaphor theory and (post-)Genettian narratology as theoretical frameworks to classify the Shakespearean shipwreck accounts, this article aims at investigating stylistic features of diegetic narrativity, moments of pure storytelling in Shakespeare’s canon. After tracing a general typology, the seven plays are subjected to a stylistic analysis, aimed at reflecting on ryhthmic-prosodic, morphosyntactic and lexicosemantic features. Finally, given the stylistic similarities between the three late plays – i.e. Pericles, The Winter’s Tale and The Tempest – remarks are advanced on a possible evolution of the Bard’s style in shipwreck narrations.
Lingue e Linguaggi, 36, 2020
CLIL is the acronym coined by professors David Marsh and Anne Maljers and it stands for Content a... more CLIL is the acronym coined by professors David Marsh and Anne Maljers and it stands for Content and Language Integrated Learning. It describes a well-known and widespread methodology in Europe and in the Italian school system which was officially recognised in 1994. The current Italian school legislation has adopted it both to increase SL practice and to promote learner-centred approaches and teaching innovation. The Italian publishing industry has started to dedicate much attention to the development of ready-made supports for high school teachers and fix 'canonical' topics. Following the recent analyses of authorial voice in the academic discourse of historiography (Bondi) and the applications of corpus linguistics/stylistics and appraisal theory to different textual typologies (White 2002; Martin and White 2005), this article aims at exploring the seemingly marginal textuality produced for CLIL history teaching. It constitutes an attempt at tracing stances of authorial voice in a corpus of 23 titles representing the totality of CLIL history textbooks adopted in the fifth year of Italian Licei and Istituti Tecnici throughout Italy. This corpus will be analysed with the aid of databases belonging to the most important and 'CLIL-involved' Italian publishers of schoolbooks and CLIL booklets (among others, Mondadori Scuola, Einaudi Scuola, Laterza Scolastica and more). The discourse analysis conducted on the texts will attempt at highlighting how the authors' different approaches to and viewpoints on contemporary history are conveyed linguistically in English, which in most cases is not their native language.
RSV, 2019
Look out for the small of your back": (Im)politeness in Swinburne's The Statue of John Brute 1. M... more Look out for the small of your back": (Im)politeness in Swinburne's The Statue of John Brute 1. Methodological tools: Conversation analysis and the theory of (im)politeness
Status Quaestionis, 2019
This article aims at analysing the English translation of one of the most important early travel ... more This article aims at analysing the English translation of one of the most important early travel guidebooks in the European Renaissance panorama, Frans Schott’s Itinerarii Italiae rerumque Romanarum libri tres. Its first (and possibly last) English edition by Edmund Warcupp was published in London in 1660 with the astonishing title Italy, in its Original Glory, Ruine and Revival, probably using an Italian version of the text, printed in Padua in 1654, as source text. The first part of the article is dedicated to an overview of English for Special/Specific Purposes (ESP) in the Renaissance, an introduction to Warcupp’s text and the translational aspects linked to his 1660 edition of Schott’s guidebook. The last two sections draw upon tools offered by corpus linguistics: a multilingual parallel corpus of the Latin (1600), Italian (1654), and English (1660) versions of Itinerarii is presented and in particular Warcupp’s edition is analysed in order to study its author’s translation style and contextualise Italy in the early modern English linguistic panorama which was dominated by “an ease with variation” (Hope 2010, 135).
Shakespeare and vampires represent a sort of " Beckettian pair " whose intertextual connections s... more Shakespeare and vampires represent a sort of " Beckettian pair " whose intertextual connections seem to have been explored more in detail by the so-called escape literature than by literary critics themselves. Based on this premise, this article is aimed at exploring Shakespearean intertextuality in one of the most famous and popular TV series about vampires,The Originals, thus trying to demonstrate that Shakespearean quotations are not accidental, but perfectly mirror the neo-gothic world of the Mikaelson's family. Seasons 3 and 4 of the series have apparently nothing in common except direct quotations from Hamlet. In season 3 it is the vampire Marcel Gérard – aformer close friend of the Mikaelsons' – who leaves a copy of Hamlet open at 4.2.75-6 (" When sorrows come, they come not single spies / But in battalions "), whilst in season 4 the witch Inadu takes Elijah Mikaelson's appearance and quotes from Shakespeare's Danish tragedy.In both seasons of The Originals, Shakespeare's work seems to connect the different narrative levels, thus commenting on the story and being commented by it, interpreting the characters' deepest secrets and being intertextually interpreted by them.
Books by Fabio Ciambella
Conference Organization by Fabio Ciambella
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Thesis Chapters by Fabio Ciambella
Drafts by Fabio Ciambella
Papers by Fabio Ciambella
Books by Fabio Ciambella
Conference Organization by Fabio Ciambella
Rome, April 27th-28th 2021
Online Conference (Microsoft Teams)
https://gruppotrade-2019.uniroma2.it/
Rome, April 27th-28th 2021
Online Conference (Microsoft Teams)
https://gruppotrade-2019.uniroma2.it/