This paper deals with the treatment of paremias in the Italian translation of Arturo Pérez-Reverte's Los perros duros no bailan (Hard dogs don't dance). All the paremias found in the Italian translation were extracted and compared with the forms present in the source text. Then a reflection on the paremiological correspondences in Italian was carried out on the basis of the extrinsic analysis of the paremias, with special attention to the functions that some of the sententious utterances play in the text and to the presence of de-automatised paremias. The comparison of the source text and the target text with regard to the paremias under study led to the identification of four literal correspondences, one conceptual correspondence, and five literal translations. In addition, eight deautomatised paremias (including four in Latin) and two pseudo-paremias were detected. The result is a TT that may well be exemplary of the multitude of techniques and strategies that can be applied in phraseological and paremiological translation. Literal and conceptual correspondences, which, in principle, are not so difficult to locate when working with related languages, do not always constitute the best equivalence of a sententious utterance inserted in a literary text.

In his essays, Giono strives for an aesthetic view of the world. He considers that it is able to cure man of boredom and can remedy his psychic impasses. Art is in fact the reconciliation in man of his lower faculties (sensuality, instinct, and the body) and his higher faculties (common sense, which aims above all at a good life). Such a reconciliation requires a break with the universes created by science and technology and the ideology of progress which is consubstantial with it, because science and technology are the enemies of any aesthetic conception of the world. They curb man's sensuality, establish a relationship of domination between him and the cosmos, and cause him to tip over into a form of barbarism which is associated in Giono with the thought of the crowd which, itself, is generated by the thought of the concept. The latter is characterised above all by its utilitarian dimension and does not take into consideration either the joy of man or his freedom, because it imprisons him in what Nietzsche calls the common vision. Added to this is the fact that science and technology are breaking the link that man used to establish with the cosmos. And it is this rupture which constitutes, in the eyes of Giono, the misfortune of man.

Literal and metaphoric uses of the noun cabeza and its presence in the somatic phraseological units: a study based on the consultation of the CREA corpus

The present study explores the construction [DET {det} ADJ of PRON {pos} N] in Spanish, the meaning of which has a valorative attributive character, generally of CRITI-CISM and INSULT with respect to the propositional content and is typical of a colloquial register. Constructional idioms are characterised by being semi-schematic constructions which have partially free gaps or slots which are not lexically saturated, as well as by their pragmatic component. The aim of the proposal is to offer a description of the productivity and cognitive fixation (entrenchment) of this construction according to the corpus results found. To this end, a morphological and lexical study of the actualisations of its slots will be undertaken, the first of which is adjectival and the second of which is composed of a nominal syntagm consisting of a possessive pronoun and a noun. Furthermore, the use of this construction in Spanish will be systematised and its peculiar structure will be described; it is composed of a definite article that acts as a head, followed by an adjective, which, rather than being the referential core, has an expressive, evaluative, and focalising value on the NP of the second part of the construction, preceded by the preposition de. The restrictions and preferences of its slots will also be described. This type of construction, which occupies an intermediate position in the lexico-grammatical continuum of the language system, has rarely been studied so far in the case of Spanish. The present study would fill this gap in research by implementing a corpus-based methodology.

The typology of idioms has been the main topic of numerous works and, moreover, it is still a somewhat controversial subject. The present paper aims at analysing the French translation of the pronominal phrases that appear in the novel Cinco horas con Mario by Miguel Delibes. This work has been chosen because of its notable richness and value from the phraseological point of view. The corpus of this paper is composed of 16 pronominal phrases. Its focus is on the study of these idioms and on their translations in the two French editions of the novel. After the analysis of idioms of this type in Delibes' novel, it has been observed that the most commonly-used technique is phraseological correlation; in other words, generally, idioms have been translated by means of another idiom in the target language. This is interesting because of the great pragmatic value of idioms of this type. The lack of consensus on the consideration of pronominal phrases as a class apart from nominal phrases means that there is no common and precise cataloguing of these units in dictionaries and other lexicographic repertoires. On the other hand, here it is considered that this methodology is useful for the analysis and evaluation of the French translation of these constructions.

Las entidades nombradas multipalabra (ENMP) constituyen importantes nodos de información lingüística que, en numerosas ocasiones, ofrecen claves fundamentales para la comprensión de los textos en los que aparecen. Sin embargo, los estudios dedicados en exclusiva a este tipo de unidades son de muy reciente cuño y provienen en su gran mayoría de un único campo de estudio, el Procesamiento del Lenguaje Natural (PLN). El siguiente trabajo tiene como objetivo realizar un análisis contrastivo de una serie de nombres de organizaciones multipalabra (ORGMP) extraídos de dos corpus comparables inglés-español (uno escrito y otro oral) de material del Parlamento Europeo. Se sigue para ello una metodología de corte construccionista. Primero, empleamos técnicas de reconocimiento automático de entidades nombradas y recuperación manual para extraer los nombres propios, y evaluamos el rendimiento de ambas tareas mediante métricas. Después, se anotan cuatro parámetros para cada entrada. El análisis desvela que, a este nivel onomástico, el eurolecto inglés no traducido contiene en realidad un número significativo de traducciones (17,3 %) y el inglés no interpretado cuenta con un porcentaje aún mayor de interpretaciones (24,3 %). En el eurolecto español traducido (80,5 %) e interpretado (98,1 %) dominan las traducciones, interpretaciones, préstamos y fusiones de ORGMP, aunque estos esquemas mediadores también conviven con construcciones del onomasticón nativo. Los resultados de este estudio manifiestan el potencial desapercibido de los nombres propios como puerta de acceso al entendimiento de que la traducción e interpretación no son categorías absolutas, sino que cada género textual (no) traducido o (no) interpretado se rige por una gramática construccional distinta que reparte cantidades dispares de construcciones mediadoras y no mediadoras en función de parámetros como el idioma, las normas y eventos que rodean la producción textual.

One of the challenges in literary translation is the need to consider linguistic accuracy, pragmatic meaning, and reading experience all at once. It means that translators choose carefully between translation options, considering stylistic issues and the characteristics of the potential reader (mainly age and cultural features of the target context). From this perspective, this research analyses machine translation of five phraseological units from Spanish into Arabic, using the young adult novel Manolito Gafotas by Elvira Lindo (1994) as a corpus. The translations are assessed by 1. analysing their grammatical and semantic accuracy and 2. comparing them with the results of a survey conducted among six

La creaciĂłn, uso y circulaciĂłn del dispositivo fotogrĂĄfico conmoviĂł y afectĂł los saberes del siglo XIX y XX, modificando para siempre nuestra cultura y experiencia; sobre todo, radicalizando la crisis de un rĂŠgimen escĂłpico que -en los tĂŠrminos de Martin Jay o Susan Sontag- estructurĂł el pensamiento occidental desde la caverna de PlatĂłn a nuestros dĂ­as. El presente trabajo se propone explorar la aventura intelectual, artĂ­stica y polĂ­tica que supone la creaciĂłn y el viaje de la fotografĂ­a -su importaciĂłn- de Europa al continente americano. Para eso trazaremos un recorrido que recupera momentos discursivos que consideramos clave en lo que a la conceptualizaciĂłn del dispositivo fotogrĂĄfico respecta. Se abordarĂĄ, principalmente, la forma en que escritores como Sarmiento, MartĂ­, Holmberg y DarĂ­o reflexionaron sobre la fotografĂ­a, frecuentemente en oposiciĂłn a la pintura. Marcando, por lo tanto, los lĂ­mites y la situaciĂłn de la fotografĂ­a dentro y fuera del campo de lo artĂ­stico. En esta serie, la representaciĂłn fotogrĂĄfica del cuerpo y, sobre todo, del rostro (de cualquiera, del Otro, del artista y de Cristo) se presentarĂĄ como una dimensiĂłn singularĂ­sima que expone paradigmas de conocimientos y permite seguir una crisis de la experiencia y del campo artĂ­stico en el pasaje del siglo XIX al XX. Concluimos señalando, en relaciĂłn con el recorrido planteado, la posiciĂłn avant la letre de RubĂŠn DarĂ­o y la necesidad de profundizar los recientes esfuerzos de revisiĂłn crĂ­tica de su obra en el marco del nuevo contexto crĂ­tico-teĂłrico suscitado por los estudios visuales y las nuevas filosofĂ­as de la imagen.