Rosanna Masiola – författare

This book is about interjections and their transcultural issues. Challenging the marginalization of the past, the ubiquity of interjections and translational practices are presented in their multilingual and cross-cultural aspects. The survey widens the field of inquiry to a multi-genre and context-based perspective. The quanti-qualitative corpus has been processed on the base of topics of relevance and thematization. The range of examples varies from adaptation of novels into films, from Shakespeare, from Zulu oral epics to opera, from children’s narratives to cartoons, from migration literature to gangster and horror films and their audiovisual translation. The use of American Yiddish, Italian American, South African English, and Jamaican account for the controversial aspects of interjections as a universal phenomenon, and, conversely, as a pragmatic marker of identity in (post)colonial contexts.

This book presents a distinctive viewpoint on the significance of sacred spaces in postcolonial literature while illuminating the diasporic narrative of regions often overlooked in Pan-African literary studies.By challenging the main trends that have benefited countries such as Nigeria, Kenya, and South Africa, Rosanna Masiola and Matteo Baraldo bring together multiple faiths, literary genres, and narratives in diachronic and comparative critical perspectives from Egypt, Ethiopia, and Libya. Masiola and Baraldo focus on historical authors and the rise of contemporary writers in the diaspora from a cross-cultural and comparative perspective. By examining writers such as Ahmad Shawqi, Ibrahim al-Kuni, Sahle Sellassie, Nega Mezlekia, Maaza Mengiste, and Gabriella Ghermandi, this book seeks to connect the reader to a mystical dimension of diasporic postcolonial literature.

Fashion Narrative and Translation: Is Vanity Fair? combines comparative literature, fashion, and translation studies in their interactional roles. The integrated approach provides an innovative blended approach to comparative literature studies benefiting from growing fields of fashion and translation. Within the descriptive frame of fashion concepts and themes, the research furthers the analysis of multiple translations (English and Romance languages) to costume design in film adaptations, from page to screen. The eight chapters of the book are thematically structured raising crucial issues about language and literature in verbal and visual representation and questioning the translatability of the fashion lexicon and lexicography.

This book is a survey of how law, language and translation overlap with concepts, crimes and conflicts. It is a transdisciplinary survey exploring the dynamics of colonialism and the globalization of crime. Concepts and conflicts are used here to mean ‘conflicting interpretations’ engendering real conflicts. Beginning with theoretical issues and hermeneutics in chapter 2, the study moves on to definitions and applications in chapter 3, introducing cattle stealing as a comparative theme and global case study in chapter 4. Cattle stealing is also known in English as ‘rustling, duffing, raiding, stock theft, lifting and predatorial larceny.’ Crime and punishment are differently perceived depending on cultures and legal systems: ‘Captain Starlight’ was a legendary ‘duffer’; in India ‘lifting’ a sacred cow is a sacrilegious act. Following the globalization of crime, chapter 5 deals with human rights, ethnic cleansing and genocide. International treaties in translation set the scene for two world wars. Introducing ‘unequal treaties’ (e.g. Hong Kong), chapter 6 highlights disasters caused by treaties in translation. Cases feature American Indians (the ‘trail of broken treaties’), Maoris (Treaty of Waitangi) and East Africa (Treaty of Wuchale).

This book offers a new perspective on the role played by colonial descriptions and translation of Caribbean plants in representations of Caribbean culture.