Abstract: The present study examines the way Gioachino Rossini’s librettos are selected and formed demonstrating the evolutionary trajectory of the composer during his operatic career. Rossini, a dominant figure in the early 19th century Italian opera, is demanding in his choice of librettos and has a preference for subjects inspired by European literature, of his time or earlier. He begins his operatic career with farsae and operas buffae, but he mainly continues with operas seriae, to end it with a grand opera that conforms to the spirit of romanticism as manifested in Paris of his time. His farsae, operas buffae and comic operas in general are representative of the trends of the time: in some the irrational and the exaggeration prevail, in others the upheavals, others are semi-serious and emotional with a happy ending and others are comedies with more realistic characters, but usually the styles are mixed and complement each other. The stories that refer to his modern era unfold mocking human characters, beliefs attitudes and their expressions in every day habits, satirizing current affairs, presenting innovative elements in dramatic intervention and dealing with a variety of social and national issues. Count Ory, his final comic work, consists of a complex witty urban comic opera entwined with romantic sensitivity. The themes he chooses for his operas seriae are characterized by tragic passion, take place in the era of the Trojan War, the Roman Empire, the Middle Ages, and the Age of the Crusades and are set in Italy, England, Poland, Greece, Switzerland, Israel and Egypt. In his early works he sketches the characters remotely, objectively and with static, reflexive emotional expression and a happy ending. Then he continues with operas for the San Carlo Theater, which are characterized by experimentation and innovation to end up his Italian operatic career with the ostensibly backward but in fact tragic Semiramis followed in Paris by William Tell, his ultimate dramatic achievement. There are indirect references to burning issues of his era but the censorship of the time does not allow direct reference to topics that would upset the status quo. In addition, Rossini lives in a temporal period of peace after the Napoleonic Wars and by temperament he resists openly engaging in political strife. Furthermore, the need for survival necessitates the search for the more profitable contracts. In conclusion, Rossini, as a liberal personality, shapes his librettos without interruptions or setbacks, with ideas that come out after a lot of thought and a strong sense of purpose. He moves from the moral and aesthetic clarity of the classic tradition of his early works to a more elaborate and morally ambiguous romantic style in a moderate and hesitant way.
Abstract: The differences in languages play a big role in cross-cultural communication. If meanings are not translated accurately, the risk can be crucial not only on an interpersonal level, but also on the international and political levels. The use of metaphorical language by politicians can cause great confusion, often leading to statements being misconstrued. In these situations, it is the translators who struggle to put forward the intended meaning with clarity and this makes translation an important field to study and analyze when it comes to cross-cultural communication. Owing to the growing importance of language and the power of translation in politics, this research analyzes part of President Bush’s speech in 2001 in which he used the word “Crusade” which caused his statement to be misconstrued. The research uses a discourse analysis of cross-cultural communication literature which provides answers supported by historical, linguistic, and communicative perspectives. The first finding indicates that the word ‘crusade’ carries different meaning and significance in the narratives of the Western world when compared to the Middle East. The second one is that, linguistically, maintaining cultural meanings through translation is quite difficult and challenging. Third, when it comes to the cross-cultural communication perspective, the common and frequent usage of literal translation is a sign of poor strategies being followed in translation training. Based on the example of Bush’s speech, this paper hopes to highlight the weak practices in translation in cross-cultural communication which are still commonly used across the world. Translation studies have to take issues such as this seriously and attempt to find a solution. In every language, there are words and phrases that have cultural, historical and social meanings that are woven into the language. Literal translation is not the solution for this problem because that strategy is unable to convey these meanings in the target language.
Abstract: There is a trend in development discourse to
understand and explain the level of corruption in Nigeria, its anticorruption
crusade and why it is failing, as well as its level of
compliance with International standards of United Nations
Convention against Corruption (UNCAC) & African Union
Convention on Converting and Preventing Corruption) to which
Nigeria is a signatory. This paper discusses the legal and
Constitutional provisions relating to corrupt practices and safeguards
in Nigeria, as well as the obstacles to the implementation of these
Conventions.
The paper highlights the challenges posed to the Anti-Corruption
crusade by analysing the loopholes that exist both in administrative
structure and in scope of the relevant laws. The paper argues that
Nigerian Constitution did not make adequate provisions for the
implementation of the conventions, hence a proposal which will
ensure adequate provision for implementing the conventions to better
the lives of Nigerians. The paper concludes that there is the need to
build institutional parameters, adequate constitutional and structural
safeguards, as well as to synergise strategies, collaborations and
alliances to facilitate the timely domestication and implementation of
the conventions.