Embodiments of history memory and identi

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The recent Cinema and TV screening of the Neapolitan Camorra seems to be spreading a somewhat incorrect interpretation of “queer masculinity” in non-verbal interactions among Camorra mobsters Non-verbal forms of communication are a major constraint for audiovisual

translators when adapting a complex multimodal product into other languages (Chiaro et al

2008) In particular, very little attention has been paid to the way the Neapolitan crime syndicate has been discursively re-semiotised and therefore mis-perceived in English-speaking contexts through translated audiovisual products When non-verbal communication crosses national, cultural and linguistic boundaries via subtitling, some cultural misinterpretations may, in fact, prevent the full appreciation of the source text since the way in which space is used and interpreted is always a culture-bound factor (Kendon 1977; 1990)

Based on an integrated multimodal methodology (Kress et al 1991), which comprises both

quantitative and qualitative analyses of a large multimodal corpus of films, TV series and documentaries produced in Italy and subtitled in English – where criminals’ micro-space is left

to the interpretation of foreign viewers –, this paper posits a different semiotic reading of the misinterpreted male homosexuality in the filmic semiotisations of Camorra men’s proxemics

Chiaro, Delia; Heiss, Christine; Bucaria, Chiara (2008) Between Text and Image: Updating Research in Screen Translation London: John Benjamins Publishing

Champagne, John (2014) “Italian Masculinity as Queer: An Immoderate Proposal.” Gender and Sexuality in Italy, 1-2014

Hall, Edward T (1963) “A System for the Notation of Proxemic Behavior” American Anthropologist 65 (5): 1003–1026

Hall, Edward T (1966) The Hidden Dimension Anchor Books

Kendon, Adam (1977) Studies in the Behavior of Social Interaction Lisse: Peter De Ridder

Press

Kendon, Adam (1990) Conducting Interaction: Patterns of behavior in focused encounters

Cambridge University Press

Kress, Gunther and Theo van Leeuwen (2001) Multimodal Discourse: The Modes and Media of Contemporary Communication Oxford: Oxford University Press

Messina, Marcello (2015) “Matteo Garrone’s Gomorra: A Politically Incorrect Use of

Neapolitan Identities and Queer Masculinities?”, Gender and Sexuality in Italy, 2-2015

Giuseppe Balirano, PhD in English for Special Purposes, is Associate Professor in English

Linguistics at the University of Naples ’L’Orientale’ His research interests and publications lie

in the fields of Multimodal Critical Discourse Analysis, Humour, Masculinity Studies and

Audio Visual Translation He is the director of the inter-university research centre, I-LanD, for

the linguistic investigation of identity, language and diversity His recent publications include:

Language, Theory and Society (2015), Languaging Diversity: Identities, Genres, discourses

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(http://szeged-­‐english.hu/en/research/regcis

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zimbulov@phil.hhu.de

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http://www.neovictorianstudies.com/

T.S Eliot as the reconciler of the Past, Present and Future

Zekiye Antakyalioglu, Gaziantep University, Turkey

T.S Eliot as literary critic wrote many essays of generalizations and appreciations of individual authors In these essays we can find his hypotheses about what art is and what ideal poetry must

be like Although Eliot was a prominent poet-critic of the modernist period, his theories of tradition, time, memory, individual/society and history have still a penetrating influence on contemporary thinking Although his personal views on religion, morality and politics are contestable and even obsolete in today’s thinking, we should admit that Eliot had an oxymoronic relation with them by virtue of being a “classicist modernist”, a “royalist American” and a “catholic Buddhist” This very intriguing position can be taken as a prototype

of poststructuralist way of handling the binaries as identical and deconstruction in general Eliot, for those who study postmodern/poststructuralist theories can be taken as an echo from the past

By being the poet-critic of the present perfect tense, his analyses of history can be aligned with the contemporary approaches to history as anachronistic His concepts of “objective correlative” and “impersonal voice” can be the echoes of the Deleuzean concept of art as the producer of

“affects and percepts” rather than the individual perceptions and sensations His pessimism about “the dissolution of sensibilities” can be taken as a critique echoing Jameson’s views of late capitalism whose result is “the waning of affects” His cyclical view of time can be related

to the end of dialectical thinking in the contemporary studies Finally, his negative attitude to lyrical poetry and romanticism and his defense of epic distancing and collective voice in poetry may allude a lot to the concepts like the death of the author and textuality This paper will be a revisiting of T.S Eliot’s non-fictional prose and theory of art to analyze their validity and relevance for us today

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