Bøker av Massimiliano Morini

Giovanni Battista Guarini's Il pastor fido was a major text of the late European Renaissance, both in itself and as a manifesto of its author's ideas on pastoral tragicomedy. This edition presents the text of the first English translation of the play, probably by Tailboys Dymock, first published in 1602.While Richard Fanshawe's royalist version of 1647 is better-known, the process by which Fanshawe's version was canonized and Dymock's forgotten was based on false premises, as the introduction to this edition demonstrates. Not only is Dymock's version the freer of the two, shortening and simplifying Guarini's text, it also appears to be an attempt to make the play more fitting for the contemporary London stage. Those responsible for the 1602 version decided to work on a play with poetic pedigree, but they made a book that looked like the English playtexts of the time - a compromise which reflects the fluctuating aesthetic values at the beginning of the seventeenth century.The text is presented with modern spelling and punctuation, accompanied by extensive explanatory notes and an introduction discussing both the history of this translation and of Guarini's original, situating them both in their wider literary historical context, and demonstrating the historical value of the first English Pastor fido in the context of late Elizabethan translation practice, theatrical discourse and theatrical publishing.Massimiliano Morini teaches English Linguistics and Translation at the University of Urbino Carlo Bo.

Translation for the theatre is often considered to hold a marginal status between literary translation and adaptation for the stage. As a result, this book argues that studies of this complex activity tend to take either a textual or performative approach. After exploring the history of translation theory through these lenses, Massimiliano Morini proposes a more totalizing view of 'theatre translation' as the sum of operations required to transform one theatre act into another, and analyses three complex Western case histories in light of this all-encompassing definition. Combining theory with practice, Morini investigates how traditional ideas on translation - from Plautus and Cicero to the early 20th century - have been applied in the theatrical domain. He then compares and contrasts the inherently textual viewpoint of post-humanistic translators with the more performative approaches of contemporary theatrical practitioners, and chronicles the rise of performative views in the third millennium. Positioning itself at the intersection of past and present, as well as translation studies and theatre semiotics, Theatre Translation provides a full diachronic survey of an age-old activity and a burgeoning academic field.

A Day in the News is the linguistic description of a single day in the life of the British press - Wednesday, 19 August 2015. Employing a variety of tools and methods - from multimodality to pragmatics, from close reading to computational stylistics - Morini looks at nine different journalistic worlds and their respective Newsspeaks. The results are often revealing: by providing its readers with an accurate idea of the universe projected by each paper, this study revises many received ideas on the clear-cut boundaries separating popular from highbrow journalism.In the process, A Day in the News also sums up more than three decades of work on the language of newspapers, and provides a general analytical method for journalism in the digital age. The three chapters of the book focus, respectively, on the multimodal features of newspapers and their e-editions; on the quantitative prominence accorded to certain wordings and topics in each newspaper; and on the ideological/evaluative slant with which news items are presented and commented. Throughout, the focus is not on some outmoded notion of journalistic style, but on the degrees of proximity or distance presupposed by different formats, layouts and linguistic registers.

Employing a blend of theory and practice, the author presents the Tudor period as a transitional moment in the history of translation, from the medieval tradition to the more subtle modern tradition (which prizes the invisibility of the translator and fluency of the translated text).

Combining linguistic theory with analytical concepts and literary interpretation and appreciation, this book traces the creation and development of Jane Austen's narrative techniques. It is suitable for students of pragmatics and applied linguistics.