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This first chapter of the volume frames non professional translation and interpreting (NPIT) in their current contexts, both as practices and as objects of academic research. It defines the field, sheds light on the many names of NPIT, reviews the literature produced so far on the subject, and offers a point for investigating NPIT with scientific rigour despite professionals' righteous resistance against non-professional practices.

Il concetto di cultura, che spesso contempla la distinzione tra cultura popolare e cultura alta, è al centro del dibattito di scienze sociali e di discipline umanistiche. Se ne sono occupati, da diverse angolazioni, antropologi, etnografi, sociologi e psicologi, studiosi di marketing, di letteratura e di comunicazione, ed infine linguisti, in particolare studiosi di mediazione, di traduzione e di interpretazione, dediti agli spazi tra diverse culture. Per questo motivo, prima di presentare un case study su una delle modalità di insegnamento delle competenze interculturali in uso presso i corsi di Laurea Triennale in Mediazione Linguistica Interculturale (MLI) e di Laurea Magistrale in Traduzione Specializzata (LMTS), afferenti al Dipartimento di Interpretazione e Traduzione (DIT) dell’Università di Bologna, ci si soffermerà su alcune definizioni e metafore dell’idea di cultura, che sono state particolarmente utili ai fini delle riflessioni contenute nel seguente capitolo. Obiettivo di questo contributo è presentare, dopo una breve riflessione teorica, una delle applicazioni pratiche del trattamento delle competenze interculturali all’interno dell’insegnamento della traduzione attraverso esempi di progetti concreti, condotti da studenti alla fine del triennio formativo in Mediazione Linguistica Interculturale presso il DIT. Per l’analisi proposta sono stati scelti due elaborati che trattano la traduzione di testi di argomento culinario. La materia è oggetto di insegnamento in alcune unità didattiche dei miei corsi di traduzione dall’inglese in italiano ed è sufficientemente connotata culturalmente da poter rappresentare un utile mezzo per la trasmissione di alcune rudimentali competenze interculturali ai giovani traduttori. Tutti gli esempi contenuti nel presente capitolo sono tratti dagli elaborati prodotti da due studentesse a conclusione del percorso formativo triennale e comprendono la traduzione di alcuni estratti da due libri di cucina, l’analisi ed il commento delle scelte traduttive. Al centro della discussione del presente capitolo verranno poste le diverse modalità con cui le studentesse hanno affrontato il progetto di traduzione, le giustificazioni offerte per le scelte traduttive messe in campo, ed infine, la consapevolezza raggiunta dalle studentesse in ambito di competenze interculturali.

Food, the cornerstone of life, lies at the heart of our cultural identity. Vital for our health and well-being, our awareness of its economic, cultural and social significance - how the language of food and related practices travel across languages and cultures cannot be disregarded. Despite a rapidly expanding market for translation of food related texts: cookery books and TV programmes, magazines and food labels, to name just a few, and despite fast-pace evolving eating habits and phenomena, the relationship between food, culture and translation remains under-researched. By bringing these issues to light, this special issue aims to be a truly interdisciplinary reference work that brings together expert scholars writing on food related topics from a translational and intercultural perspective.

Since the introduction of digital terrestrial and satellite TV and the advent of food and cooking specialty channels, the food business has definitely transformed the television industry landscape and has brought about an exponential increase in TV cookery channels and programmes worldwide. Following the fil rouge of the food mania on TV, this article assumes that the expansion of TV cookery consumption could be a useful tool to monitor more general social and cultural transformations in modern audiences across trans-national boundaries. This contribution presents the results of an exploratory, empirical study conducted in Italy among a demographically mixed sample of television viewers, both satellite and pay TV subscribers and not, in order to investigate if and how their consumption of televised cookery has changed since the introduction of terrestrial digital television in Italy in 2012 and the subsequent increase in the number of factual channels. The study also aims to find out if and how the Italian audience's perception of this kind of programmes has evolved in response to recent technological advances. Combining the results of focus groups, qualitative in-depth interviews and ad hoc questionnaires, the paper considers recent audience evolution in terms of preferences and consumption habits of both subtitled and voiced-over products of foreign cookery programmes vs. Italian cookery programmes.

At the turn of the 21st century, the booming of new communication technologies and the transformations that occurred as regards the fruition of traditional media (television, telephone, cinema, etc.) have triggered what has been labeled as the “digital revolution”. Not only have new media and their augmented potentiality for interactive consumption significantly influenced the social, economic, and political frameworks of both Western and emerging countries, but they have also brought about changes in cross-cultural interactions, which are increasingly fast and farreaching. Boundaries between a ‘centre’ and a ‘periphery’ in the dissemination of audiovisual texts have become gradually more blurred: hegemonies are being challenged, with local, small-scale industries becoming more and more visible at a global level, while productions reaching the global circuit are often born as supranational projects. Studies on audiovisual translation today can rightfully claim a central role in the process of understanding and clarifying many of the challenges and opportunities that the digital revolution has brought about. Although widely seen as a sub-discipline of Translation Studies, studies on audiovisual translation are truly interdisciplinary in themselves, bringing together knowledge of more or less traditional media, IT , audience reception, cognitivism and, of course, languages and cultures.

Questo contributo si inserisce nel quadro dei risultati del progetto di ricerca quadriennale InMedIO PUER(I) del Dipartimento in Interpretazione e Traduzione dell’Ateneo di Bologna (cfr. Antonini 2010b; 2011 e questo volume). L’articolo si concentra in particolare sulla mediazione linguistica-culturale ad opera di bambini nelle scuole primarie e secondarie di I grado della provincia di Forlì-Cesena, e analizza il fenomeno del Child Language Brokering (CLB) (cfr. Antonini in questo volume p. 50-55) dal punto di vista dell’istituzione scolastica, ovvero degli insegnanti e dei direttori scolastici degli istituti presi in esame. Al fine di inquadrare le reali dimensioni della mediazione linguistica nelle scuole, l’articolo si apre con una panoramica sull’incidenza dei minori stranieri sul totale della popolazione scolastica italiana ed in particolare su quella degli istituti scolastici dell’Emilia Romagna, per poi entrare nel vivo della questione attraverso l’analisi di alcune testimonianze di insegnanti, di responsabili di sede e responsabili degli alunni stranieri, afferenti a diversi istituti comprensivi del territorio forlivese. I dati discussi nel presente articolo sono di carattere qualitativo e sono stati raccolti dai ricercatori di InMedIO PUER(I) attraverso interviste semi-strutturate con singoli insegnanti e focus group con team di insegnanti. Le indagini sono state condotte presso alcune scuole primarie e secondarie di I grado della provincia di Forlì-Cesena tra il 2008 e il 2010. I materiali raccolti per il presente articolo sono stati successivamente utilizzati come base per la costruzione di due questionari ad hoc, somministrati tra gennaio e marzo 2011 rispettivamente agli insegnanti e agli alunni delle scuole di Forlì-Cesena e di altre province dell’Emilia Romagna con più alta incidenza di alunni stranieri. I risultati dei questionari, elaborati su base statistica, saranno resi noti in future pubblicazioni da parte dei membri del gruppo di ricerca InMedIO PUER(I), mentre il presente articolo si occuperà unicamente dell’analisi qualitativa delle indagini preliminari raccolte attraverso le interviste di cui sopra.

Despite the undisputed success of televised cookery all over the world, TV programmes about cooking have not acquired full academic recognition within Television Studies as yet, let alone in disciplines such as Screen Translation that lie at the intersection of Media Studies and Translation Studies. Admittedly, cookery on TV has been studied from heterogeneous angles and has been approached from a number of other academic disciplines: Food Studies, Anthropology and Cultural Studies (see Allen and Albala 366; Ashley et al. 171) just to name a few, nonetheless gastronomic programmes on TV have seldom been catalogued as part of a self-standing television genre. During the last twenty years, since cookery has become more and more appealing to a larger audience and has acquired a more prestigious status, things have been gradually changing and the BBC for example has now a food dedicated section on its website (BBC programmes). Scholars, however, have not yet registered this epochal change. The exponential growth of culinary series broadcast on terrestrial and on satellite thematic channels and the extensive media coverage of food shows indicate that there is a consistent audience demand for the subject, and that huge economic interests revolve around TV cookery, especially for its appeal and consequential advertising capacity. So, why is cookery still so ancillary to television studies? Is it because it is not considered a serious matter? And does that have more to do with gender issues? Or is it because cookery is still perceived as a niche interest addressing small numbers of viewers? Starting from these contradicting premises, the present chapter sets out to further explore some aspects of the TV cookery business. Although the study cannot investigate in depth all cultural and economic phenomena related to food TV for reason of space, it will seek to produce some relevant thoughts on its impact on audiences and broadcasters’ policies.

An empirical study that measures audience perception of German film (satire on pre-unified Germany ) according to age og German viewers and Italian viewers watching the translated version.

The article aims to critically explore and understand the ways both RuPaul’s star persona and its program, RuPaul’s Drag Race, are distributed in Italy, circulate across, and impact on the Italian television industry and media culture, it also aims to show how many forms of national mediation, professional negotiation and audience reception deeply modify, and re-shape the TV product. To tackle the manifold facets of this case, four aspects will be analyzed: (trans)national distribution; adaptation and dubbing; global/local stardom; reception and cultural impact. Over a decade, the Italian edition and distribution of the show have changed, together with the national media landscape and its audiences.

Through an examination of British celebrity chef Jamie Oliver's cookery TV series Jamie's Great Italian Escape (Fresh One Productions, Channel 4, 2005), and comparing the original version to the Italian subtitled version of the show this article sets out to investigate a case of cultural translation in which Italian cuisine is adapted for a UK TV audience and then retranslated for the Italian audience whose dishes were originally the source of inspiration for the programme. To provide control parameters, the article also considers a few key passages from the original cookbook accompanying the TV series and contrasts them to the Italian translation. The article will address in particular the topic of how culture-specific contents of the Italian culinary tradition are adapted for UK audiences and readership and how they are then conveyed back via subtitles and written translation to the Italian speaking viewers/readers, who do not share the cultural and the linguistic background of the source text recipients, yet are very familiar with the cultural contents presented in the show. The article argues that power structures between a centre and a periphery of the media industry are relevant for the success and reception of cookery programmes and of their translations. As Italian food culture is presented to the world via a UK perspective, one further line of argument of the article is that this might influence how Italian culinary tradition is perceived by the rest of the world. The article argues that unveiling the power dynamics involved in what is usually considered material for Television Studies or Cultural Studies may have important implications for Translation Studies as well.

This paper reports the analysis of qualitative data from a broader study of young people’s representations of conflicting roles in child development. Just over a quarter of the group, bilingual students who spoke a variety of first languages, had had personal experience of child language brokering (CLB). Employing vignette methodology, they were invited to reflect on the implications of an adolescent boy’s language brokering activities for, among other things, his relationships within his family. In this paper we will present brief case studies to illustrate different positions that members of the group adopted in relation to developmental scripts emphasizing independence and interdependence between young people and their parents (Dorner et al. 2008). Through an analysis of individual CLB case studies, we illustrate various ways in which individual young people reported the balancing of the demands of autonomy and connectedness in their analysis of relationships between young people and their parents.