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Per maggiori informazione consultare il sito web ufficiale. Sono stati 3 giorni di lavoro intensi, attraverso la condivisione di best practices nella prestazione dei servizi e nella gestione dei progetti e di testimonianze delle varie CCIE sui progetti Made in Italy. Ushev candidato agli Oscar nel , sempre tratto da un racconto di Gospodinov. Oltre 7. Dopo attente valutazioni, la Giuria dei Founders Games ha decretato i tre finalisti — Online. Stefano Baldi. Alle ore Grazie a tutti e buon Festival!
Giovanni Corbetta. Conferenza stampa di lancio della 15a edizione del Festival Italiano in Bulgaria. Queste le prime affermazioni di Rosa Cusmano, Segretario Generale della Camera di Commercio Italiana in Bulgaria, che ha partecipato alla conferenza stampa per esporre le tre iniziative organizzate. Stefano Baldi nel corso della conferenza stampa.
Un destino singolare. Con una conferenza stampa ufficiale il 28 Marzo al Marinela Hotel di Sofia, gli organizzatori del Milan Academy Junior Camp — Bulgaria hanno annunciato il lancio della campagna Infine, il Segretario Generale, come anticipato dal Cons. Giuseppe Saccone e dott. Massimiliano Fuksas.
The main challenge, however, lies for the translator who is responsible for grasping the meaning in the source language and rendering it into the target language whether or not metaphor is involved. This challenge has been mentioned several times by some of the Transla- tion Studies researchers such as Charteris-Black , Lewandowski , and Burgh This research has been carried out to analyse the translations from an academic perspective and provide useful data for a more conscious and standard approach to football translation rendered in Italian and Persian.
Translators and interpreters are those who can benefit from this study since being aware of the translation of football terminology produces a better rendering. In addition, this research investigates whether or not specific translation strategies such as those proposed by Vinay and Darbelnet and Newmark can be traced in the translation process pertaining to football terminology in Persian and Italian. As I have already pointed out, football and its language have acquired widespread popularity. Also, other frameworks can be taken into consideration as suggestions for further research to conduct a comparative study.
Theoretical Framework This research applies two translation theories introduced by Vinay and Darbelnet as well as Peter Newmark. The former one deals with a comparative study carried out in to analyse the English and French languages. Also, Vinay and Darbelnet came up with a model of translation strategies and procedures. They introduced two main categories: direct and oblique translation strategies. Ac- cording to Munday , P. Calque is considered as a kind of borrowing in which the linguistic structure is transferred from the source language into the target language.
Also, replacing word for word of the vocabulary in the source language with those in the target language with equivalent meaning is called literal translation Vinay and Darbelnet, , P. The following exemplifies these strategies in Italian and Persian: Table 1. Table 2. The second category Vinay and Darbelnet introduce en- compasses four procedures including transposition, modulation, equivalence, and adaptation.
A common example of the transposition can be changing a verb into a noun. Ingo , P. Modulation happens when the translator changes semantics of the source text such as changing space for time, symbol or metaphor between the languages. It occurs when the cultural reference of the source language does not exist in the target language when it comes to transferring the intended message.
Rask , P. Newmark also mentions eight methods to be used for translation. It should be noted that he draws a line to distinguish procedure versus method. Newmark , P. Translation of Football Terminology All things considered, this research explains that there are two types of methods of translation which can be seen clearly in trans- lating football terminology into Italian and Persian including direct and indirect loan. The first category, direct loans, involves loanwords which have been transferred in Italian and Persian as can be seen in the following examples: Table 3.
Football Direct Loans in Italian Table 4. One of the instances can be seen in the following example: Both sides played cautiously. Teams colluded with one another. In this case, side and team are the words for which there is only one equivalence in Persian, while in Italian, side is referred to as parte and team means squadra.
It should be mentioned that the frequency of these kinds of words in Persian translation should be taken into consideration since the target language, Persian in this case, becomes repetitive as the same word has to be used on each occurrence. Chesterman , P5 notes such a criticism which is lexical impoverishment or loss of lexical variation against transla- tion. However, the only reasonable way to transfer the meaning in Persian is using the target term tim. This can be seen in the Italian language, as well. The data yielded by the source materials of this research provide evidence that there are some expressions in English football terminol- ogy for which there are the same number of equivalent in Persian, but only one equivalent in Italian.
Are you going to the match this Saturday? Vai alla partita sabato prossimo? The examples above shed light that the terms match, game, and fixture have been translated with different words both in Italian and Persian, i. It should be noted that the use of Italian and Persian translation for game, match, and fixture can be interchangeable depending on the context and formality in Persian and register in Italian. As Igno , p. As a result, according to Vinay and Darbelnet , p. Many linguistics scholars have based their commentaries on the assumption that there is a considerable amount of war-related terminol- ogy in football language According to Newmark , p.
Some of the examples proving that the translated expressions have the same image in the target language are described as below: Table 5. Translation of Football Terminology with the Same Image in Italian and Persian The aforementioned words are clearly associated with war. Positions in football such as striker conveys the same image in these languages. The translations presented in the target languages follow the strategy Newmark , PP.
It seems that his strategy, reproducing the same image of the source language metaphorical expression in the target language, could be employed for many football terminol- ogy instances. However, what Newmark , P. There are some metaphorical expressions in English termi- nology of football which require the literal translation method of Newmark , P. As a result, the examples below deploy literal language method Newmark, , P. Literal Translation of Football Terminology in Italian English Italian Empty net15 [a] porta vuota Centre referee arbitro principale [di campo] Counter attack contrattacco [ripartenza] Disciplinary body organo disciplinare [also plural] Table 7.
As a result, the occurrence of the loanwords might be very convenient for Persian translators. However, as Bergh and Ohlander , P. The next set of examples illustrate the frequency of borrowings and calques in both Italian and Persian. That goal was ruled out by the referee for offside. The pass was intercepted by the opponent.
The cross from the side of the field went right to the other player. What we can infer from the examples examined is that the number of borrowed words in Persian is more than those in Ital- ian. However, when it comes to idiomatic expressions with these words, the translator needs to consult with parallel texts to render an understandable translation. For instance, the word offside is sometimes used with the verb to be caught.
The idiomatic expression to be caught in offside cannot be translated literally. Football corpora in English provide confirmatory evidence that there are some expressions which require a different method of translation: Table 8. However, in terms of rendering the equivalence in Italian and Persian, the is- sue of appropriateness introduced by Newmark should be taken into consideration.
The researcher came up with the word harif in the Persian language which seems to be more acceptable for follow- ers of football in Iran. In Italian, this expression can be translated as avversaria. Thus, there is no war-related connotation in English football terminology compared to Italian and Persian. So the allusion to war has been added to the target languages. Conclusion Football is the most popular sport in Italy24 and Iran25 and carry- ing out research projects in this field is both interesting and essential. This study aimed to investigate and trace the strategies used in trans- lating football terminology from English into Italian and Persian.
After investigating and tracing the translation theories in the target texts, this study came to posit that it is more appropriate to reduce the images to literal language for the Persian language as in the Italian language indirect loanwords can be found in Italian football terminology.
What has emerged from the set of examples compared and analysed in this essay validates the view that translating football texts can be particularly challenging as a manifestation of football language is code-mixing This study has also shed light on how the language of football works, particularly its use of semi-fixed expressions.
Furthermore, parallel texts are considered to be an invaluable help for translators in every language so that they can come up with transferring the right meaning The opportunity to access parallel texts can be useful for checking the frequency of the synonyms and collocations28 in the target language. Since football is a code-mixing language, translators, interpreters, and com- mentators need to be aware of the formation of their language production to prevent any mistranslation.
References Afarinasadi, F. Sociolinguistic Implications of Sports-Register Equivalence.
Saarbrucken: Lambert academic publishing. Bergh, G. Revista Veredas, 15 2. Free kicks, dribblers and WAGs. Moderna Sprak. Bray, K. How to Score: Science and the Beautiful Game. London: Granta.
Chapanga, E. An analysis of the war metaphors used in spo-ken commentaries of the edition of the Premier Soccer League PSL matches in Zimbabwe. Charteris-Black, J. Corpus approaches to critical metaphor analysis. Chesterman, A. Claims, Changes and Challenges in Translation Studies. Amsterdam: Benjamins. Fahim Afarinasadi 51 Chomsky, N. Some controversial questions in phonologi- cal theory. Journal of Linguistics, 1, 97— Crystal, D. The Cambridge encyclopedia of language Vol. Cambridge University Press Cambridge.
Translating medical ter- minologies through word alignment in parallel text corpora. Journal of Biomedical Informatics, 42 4 , — A history of Italian football. Igno, R. Lakoff, G. Metaphor and war: The metaphor system used to justify war in the Gulf. Peace Research, 25— Metaphors We Live By.
Chicago: The Uni- versity of Chicago Press. Lewandowski, M. The language of soccer — a sociolect or a register? The rhetoric of violence in Polish and English soccer. Language, Communication, Information, 87— Shahidi, Ed. Tehran: Amirkabir. Munday, J. Theories and ap-plication. London: Routledge. Muysken, P. Bilingual speech: A typology of code-mixing Vol. Cambridge University Press.
Newmark, P. About Translation: Multilingual Matters. A Textbook of Translation. Hertfordshire: Prentice Hall. Master thesis. Vierkant, S. Metaphor in German live radio football com-mentaries. Pdf November Vinay, J. Vinay, P. As an academic board member for Academic OASIS since , Fahim has authored mono- graphic studies and presented papers at international conferences in the fields of English and Translation, Etymology and Sociolinguistics of Sports. His doctoral research investigates localisation of football websites as multi-modal, cross-cultural communication. The translations have been also carried out by the author in consultation with Italian and Persian translators.
Also, the following online resources have been used: www. Su Hysaj He also states that collocation is the habitual co-occurrence of lexi- cal items. La traduzione era fatta bene ma quel brano mi parve proprio detestabile. Poesie del Fogazzaro entravano in una antologia inglese del di cui tratteremo oltre. From Cavalcanti to Fogazzaro, apparsa nel e recante fin nel titolo, come si vede, menzione del nostro autore. Questa consolidata reputazione estera non ci deve sorprendere. Ma osserviamo la cronologia delle opere di Fogazzaro in prima edizione italiana e in prima traduzione inglese: Prime edizioni: Miranda Valsolda Malombra Daniele Cortis Il mistero del poeta Piccolo mondo antico Poesie scelte Piccolo mondo moderno Il santo Leila Prime traduzioni: Daniele Cortis trad.
Tilton, New York, Holt; e poco dopo, trad. Prichard-Agnetti, Lon- dra, Hodder and Stoughton; anche, stessa traduttrice, con pref. An Anthology of Forty Italian Poets. Translated into English Verse and with an Intr. Dei sette romanzi di Fogazzaro, cinque vengono tradotti e pubblicati per la prima volta dopo il , anno in cui esce Il santo. Ci imbattiamo in tratti ostici al lettore odierno, che si possono sintetizzare nelle caratteristiche seguenti. Intanto, il linguaggio dal sapore antiquato, ottocentesco. Sperimenta tanti metri, e sembra usare talora una metrica accentuativa irregolare.
Quando il poeta si scorda della sua preparazione classica e mette da parte la retorica, abbiamo versi lisci, naturali nel linguaggio e scorrevoli nella prosodia cfr. Targioni-Tozzetti, Antonio Zardo.
Tutti i testi sono tradotti di sua mano. A questo atteggiamento mentale necessariamente corrisponde uno JIT Con eccezioni, naturalmente. Tusiani include tre poesie di Fogazzaro nel suo From Marino to Marinetti. An Anthology of Forty Italian Poets , terzo volume di una vasta scelta di poesia italiana da San Francesco in poi, in traduzione inglese interamente sua. Nel raffrontare i due traduttori, vanno stabilite delle differen- ze.
Usa un inglese decoroso, formale, con qualche tratto desueto. I due traduttori hanno delle espressioni in comune. Dal che si penserebbe ancora che il traduttore moderno potrebbe aver tratto spunti dal precedente. Ci fa tornare alla mente il caso di Emily Dickinson, che reclusasi vo- lontariamente per anni fra quattro mura nella sua casa di Amherst, nel Massachu- setts, scrisse quasi frammenti poetici che contribuirono a fondare la poesia americana moderna.
Ma alcuni tratti sembrano proprio ravvicinarla a questa Miranda reclusa in stanza. E forse il confronto testuale fra autore e autrice andrebbe esteso. Non solo qui, ma anche in altri luoghi notiamo questo as- sottigliarsi delle percezioni. Dovunque il guardo io volgo Dalle finestre, nereggiar li vedo A selve, a gruppi, or densi ora dispersi. Come si aman gli abeti! Torno per un attimo alla Dickinson.
Buy Il ladro di momenti (Italian Edition): Read 1 Kindle Store Reviews - Amazon. com. Viaggioterapia italian edition. The stregoni sequence book 1 golden healer dark enchantress. Il ladro di momenti italian edition. Kettle and charm. Erfolgreiche.
In fatto di traduzione, le due recenti poesie rese da Joseph JIT Dagli spiriti mali, Signor, guarda i mortali! Dagli spiriti mali Guarda i mortali! Al bronzo ancora Sia pace. Con rotta lena Mia lunga pena Le piango omai. Solo un accento, Solo un lamento, Solo un sospiro Ancora, un bacio!
Silenzio, pace. Le stelle ridono Vaghe del nitido Speglio sereno; Mi trema e palpita Vespero in seno. Solo un accento, Solo un lamento, Solo un sospiro, Un bacio. The hour of darkness cometh. Come, let us pray. Save Thine eternity, Are vanity. Echoes from the Valleys Vanity! For so much sin unknown, and so much pain. Have mercy, Lord!
Echoes from the Valleys O Holy One! Thou, Mystery Divine! Alone canst tell. Echoes from the Valleys Alone canst tell! That lives its life intense, Loves, suffers Thine adverse Inscrutable decrees. Echoes from the Valleys Peace! One accent alone, One murmur, one moan. One sigh — only this — As thy pebbles I kiss. Be silent, O deep! The stars as they smile Fall in love for awhile With my mirror serene: In my bosom bright Vesper reflected is seen.
Silence and sleep! One sigh — only this One kiss. The silent waves hear; The dark mountains hear; They list, and hear only My murmurs austere. Keep, Lord, from evil the men of dying day! The Bells of Osteno We, too, upon the waves from lonely shores must, one by one with deep voice run. And keep from evil the men of dying day! All that has birth, save Your eternity, O Lord, on earth is vain.
Echoes from the Valleys Is vain. Mercy, O Lord! All grief and terror that still despise You, all human error that still denies You, all love by You not blest nor won, forgive, O Holy One! Echoes from the Valleys Can know the truth. Echoes from the Valleys Oh, peace! The Wave of the Lake And is the shore asleep, whose love I in me keep? Only one word, only one cry, only one sigh, and one more kiss. Be still, oh, peace! The stars are smiling in this clear mirror, calm and beguiling; and Vesper trembles, and beats fast upon my breast.
Only one cry, only one sigh, and one more kiss. The Waterfall of Rescia These waves have no more peace, these waves can no more cease: they ever flood and fall, and ever rush and roar upon the lonesome shore. Talora per la tua porta che geme Entran lume di cielo, odor di mare, Qualche figura taciturna e mesta; Ed anche in me, talora, entrano insieme Un folle ardor vitale che dispare, Un dolce viso tenero che resta.
To the Ideal and to the God I love one lamp still glows with its immortal light.
It was funded by the Italian Communist Party and was to have been the first of three films dealing with Sicilian fishermen, peasants, and miners, respectively. Queste le prime affermazioni di Rosa Cusmano, Segretario Generale della Camera di Commercio Italiana in Bulgaria, che ha partecipato alla conferenza stampa per esporre le tre iniziative organizzate. Set against the astounding spectacle of war rubble, a hazy urban scenario, or the proto-western environment of Southern Italy, these contorted family romances are greatly enhanced by their use of landscape. Beside The flower-white tree not so lonely I: Torn petals, dew-wet, yellowed my bared ankles. She has published edited books on transmedia and Berlusconi His latest publications include La cittadinanza come luogo di lotta. Arlotto neither comes across as heartlessly cruel, nor at all religiously abstemious; his act of withholding wine from the equally etiquette-challenged ghost of the humanist may suggest that Arlotto finds Lionardo to be exaggerating the urgency of his thirst.
At times through this your door, which seems to moan, fragrance of sea and glimpse of heaven pass, or some sad person, silent and forlorn. And so to me, at times, together come a frantic warmth of life that quickly wanes and a sweet face that tenderly remains. Fuor da ogni finestra Nel chiaror delle nebbie il lago appare, Quale deserto, sconfinato mare.
Io sederei a poppa ed essi a prora; Senza parlar ci guarderemmo allora. Beyond, the lake appears in misty night, Like a deserted, boundless sea at night. Could I sail out upon this desert sea, Sail out alone, sail out afar and free; And, when the vanishing shores are lost to view, Yield to my thoughts and to the waters blue! And they will see the bit of art I learned, and smile at such a little knowledge found; and when in vain they will have sought and sought, they will explore the cells of every thought.
And then, before they leave me, with disdain they will, my darling, open this my heart, and out of it will dazzle then and there the deep-stored sunshine of your golden hair. Looking at last at your fine hair of gold, and at your pensive eyes deep as the sea, JIT Si sentiano i canti ; E dopo, che silenzio! Mother forbade it. From my window, though, I saw so many people on the road Beyond the meadow.
Feeble songs were heard. And then, what silence! One small falling leaf I even heard as on the ground it lay. Strange, I can hear now every little sound. Cupi, austeri, JIT Gelido fu il viso, Gelide e rade furon le parole; Ma per mille reconditi pensieri Non detti mai, compresi, eran congiunte Le nostre vite. Voi felici, abeti! Confitti negli abissi dei burroni Dove sole non penetra, protesi Sulle cascate candide, sublimi Sulle torri scoscese ove non giunge Nemico piede, voi felici, abeti!
Son commossa. Vorrei di qua levarmi, Non posso. How fir-trees love each other! Bleak, austere, JIT But underneath, their slender roots are eager To search, embrace, and strengthen one another, In countless knots commingled avidly.
It was like this one day. We used to live One near the other. Still our looks were cold, And still our words were also cold and few; But through a thousand deeply hidden thoughts, Unsaid yet understood, our lives were bound. O fir-trees, happy fir-trees! Nailed and stuck Down in the depth of every precipice Where sunshine does not enter, springing up Over white-foaming cascades, and sublime Above steep, rugged towers where no foe Sets ever foot, O happy, happy trees!
Living together in dark solitude Suits you, nor are you pricked by other dreams, Under the snow, save of the future sun. I am confused. How from this very pen Do such new ardent syllables come out? Am I perhaps this moment in his thoughts Or is my soul now touched by the warm breath Kindling his songs?
Or is it only love, This love whereof I die, and which through forests And mountains keeps a part of him reserved For him alone? Have mercy, God!
I tremble. Ever the jokester, Mainardi composed the epitaph for his own tomb in Florence, which in Italian reads: I had this tomb built for myself and for anyone else who might like to join me inside it. The two anecdotes translated for the first time into English here are num- JIT The force behind the humor of such examples of early Italian popular literary prose often hinges on linguistic wordplay, including puns or sophisticated quips. Sometimes, as in the first case here, they implicitly critique the beliefs or behaviors of characters representing the cultural elite.
Facezie tend to be far shorter with less character and narrative development than the typical novella, and their messages are not aimed at moral edification, oftentimes deliberately satiriz- ing such writings, so they are not usually stated as explicitly as the lessons in exempla or favole, for instance.
Among other Italian writers of motti and facezie are Franco Sacchetti in his Trecentono- velle, as well as Poggio Bracciolini and Giovanni Pontano , who wrote their anecdotes in Latin. While I did not analyze the Motti e facezie di Piovano Arlotto in Speaking Spirits, I refer readers to it for examples of the myriad ways that other Renaissance Italians feigned ghostly voices for their own purposes. The protagonist of the first translated anecdote is Lionardo, the soul of Leonardo Bruni Although originally from Arezzo, Bruni rose to become the Florentine Cancelliere della Repub- blica from until his death.
He is esteemed among the great Renaissance Italian humanists for his scholarly contributions, which include the Historiae florentini populi in twelve volumes, his two Dialogi ad Petrum Paulum Histum, the De interpretatione recta, biographies of Dante and Petrarch, and translations from Greek JIT Here Mainardi effectively denounces Bruni for his perceived sin of greed by fictionally representing the charge as a self-accusation made by the roving spirit. He implies that the imperious Muses are ultimately unreliable. Arlotto neither comes across as heartlessly cruel, nor at all religiously abstemious; his act of withholding wine from the equally etiquette-challenged ghost of the humanist may suggest that Arlotto finds Lionardo to be exaggerating the urgency of his thirst.
Nevertheless, I opted for this translation, which captures the hyperbole with a similarly colloquial tone, but also tickles the awkwardness of a ghost complaining of a bodily necessity. Just as Petrarch trembled, froze, and burned out of love of Laura, so Bruni responds to his own passion, which is notably not for the state of his soul.
Another esteemed historical figure mentioned in this facezia is Jacopone da Todi c. He was the Franciscan friar who composed pious lauds, primarily in veneration of the Virgin Mary. The lines attributed here to Jacopone da Todi do not exist in any of his lauds known to us today, but are likely intended to resemble his devout verses because there is a deliberate play on words.
The second anecdote presents its own translation dilemmas, primarily in the form of idiomatic expressions, but also a similarly rhymed incantation to dispel the morning fog, that is the brain fogginess of the hangover that Nastagio and Zuta appear to be experiencing after over-imbibing the previous night.
Given the narrative context Piovano is one who can talk his way out of any situation and the deeper etymology related to speech of fante one with the capacity of speech; an infant, in fact, is a being who does not yet speak , I emphasized this aspect in the translation: Piovano is a clever and consummate talker. Another idiomatic expression is non tenne la pania something did not go as expected , which is similar to cadere nella pania to fall into a trap , in that case, something akin to: their trap did not work the way they had intended. In fact, Nastagio and Zuta originally aimed to get Piovano to pay for their wine, but they instead pay for Malvasia for all three of them in order to learn how the clever Piovano casts a spell to dispel their fog.
It is a choice that I fretted at far greater length than will appear on the page. I am grateful to Linda Lee, Tim Kirk, Michele Rossi, Gino Belloni, and my fellow translators of the Middlebury Bread Loaf workshop for their excellent questions and suggestions that kept me pondering deeply the process of rendering culture and language between contexts. Oh me misero! You must help me! What has become of that wisdom, learning, doctrine, and eloquence in Greek and Latin letters of yours?
Where are those speeches worthy of Cicero that dazzled the entire world? Can it be that Fame and all the Muses who once bowed before you have now abandoned you so that you find yourself in this fix? I leave my body and all my possessions. See what has become of me. Woe is me! Think of how I feel. I am very uncertain about my fate because I know the kind of life I led, especially in regard to my sin of greed, for which I made every type of wretched deal just to accumulate money and possessions.
It cost me dearly but I never stopped wanting more. Piovano was absolutely transfixed, such that he remained there still as a statue for a full quarter hour. When he regained his composure, he mounted and rode to Florence. For my part, I want to follow what that holy man, Brother Ja- copone da Todi said in one of his lauds, which is steeped in morals and good common sense: All is mine, I laud Since I rejoice and give, by God!
And they gave charitably to wickedness together with the intention from that point on to do their utmost to always indulge themselves. Io mi ti raccomando. Vedi se tue farnetichi: cognoscesti tu mio padre? A vision came to me just before daybreak, and it feels like a thousand years passed before you arrived Piovano, I beg you, do this good act and quickly, and for our part your money is not better spent than in buying Nastagio and me a half carafe of Malvasia.
I come here only to realize that you want me to work? And if he had lived eight more days, he would have been hanged. I would not waste one coin on him. But if you two want to buy a jug of Malvasia for the three of us, I will teach you an enchantment, one that dispels the morning fog, so that it will never disturb you. His complete works were recently published: Tutte le poesie, Gangemi Editore, Author of six critical books and numerous educational text- books as well as newspaper and literary journal articles, Filippelli is a deeply religious poet with strong roots in Southern Italy.
His major themes are historical and cultural focusing on the plight of Southern Italy, on nature and on the minority of exploited or abused creatures and persons. These are the first English versions of his work. Ti strapperanno con oscura forza, ignara e dolce, dalla solitudine. Io sentii da lontano il suo schioppo. Nulla gli dissi, lo guardai negli occhi. They will tear you, with dark strength you, unknowing and tender, from solitude. Slobber oozing hatred will drip on your innocence.
To a Dog They killed you one morning, and you were old and so tired that not even a cry rose from your throat, few drops stained the dirt road. I heard the gunshot from afar. I ran. I saw. I said nothing, looked at him in the eyes. He approached you, the coward, pointed his arm at you, checking to see if you would fight back, then he touched you no longer afraid. But you were still alive, you raised your eyes to his face, veiled by the agony, but without rancour, sad, slowly you licked his hand with your faithful mouth.
O ansiosi morti There appeared our women, wrapped in shawls of mourning proud figures who surrendered to hunger and came down from the mountains. They were behind their lined up pails, gestures of fretful but determined creatures, earth rekindling their faces with each breath of shame. And so too the British soldier showed compassion for those shadows hovering at dusk: they returned with the light step of thoughtful beggars, with their black shawls in their eyes silence arid immense. Oh My Beloved Dead The South burned you with staunch sun oh my own dead, my restless dead shy figures like the twisted roots of my life where a declining light deepens.
The subdued event of shadows that descend from you to the sea I feel pass over me, as the earth feels the vast murmur of the grass in the rapid sweep of wind E tu fosti una statua di silenzio coi figli stretti intorno ai tuoi ginocchi, e mamma ti guardava dalla soglia. Cadde tutta la vigna giovinetta. Tu rimanevi come un capitano fiero davanti alla sua schiera morta. Il libro potete acquistarlo sul nostro Store edizione cartacea 'collection' , e su Amazon edizione Kindle. Cover Reveal! Support the project on Kickstarter. English Books Are you ready for a new book cover reveal?
You'll see it later today Lansdale, Neil Gaiman, Ramsey C Brite e tanti altri. Edizione limitata a copie targata Independent Legions Publishing. Il racconto sceglie di non mostrare per concentrarsi su suggestioni e inquietudini solo suggerite. Un racconto ironico e divertente di un cadavere non troppo entusiasta di essere stato strappato al suo eterno riposo. A trarlo in salvo sono dei misteriosi esseri che si presentano come "Amaranth", forse angeli, forse demoni. Che prezzo ha la fortuna Adam?
Il sacrificio di quella altrui. Un racconto ricco di fascino ed inquietudine dove i pittoreschi ambienti della Sicilia rurale fanno da sfondo ad una vicenda di orrore dal sapore folkloristico: un ricercatore ed i suoi collaboratori sono in viaggio per raggiungere un'antica tenuta ducale, famosa per le statue conservate nella zona murata del giardino.
Si tratta di tre immense figure femminili, chiamate "tre pettegole", le cui minacciose figure si stagliano contro il cielo dal promontorio dove sono posizionate.
Le statue nascondono un segreto ed un nefasto influsso maligno sembra travolgere chiunque vi si avvicini. Una storia semi-seria che diverte specialmente per gli assurdi battibecchi fra Carl e l'indesiderato ospite. Un racconto che nonostante gli anni pubblicato per la prima volta nel rimane avvincente con una trama ricca di twist. Con una prosa elegante ed evocativa l'autrice ci porta fra il caldo e la polvere del deserto: Carem, abile ladro e conoscitore della magia, si introduce nella temuta "Tomba del cane nero", riuscendo a saccheggiarla ed a uscirne vivo.
Lansdale: una storia post apocalittica raccontata con folle e disperato sarcasmo dallo scienziato Paul Marder, uno dei responsabili dell'olocausto nucleare che ha stravolto la superficie terrestre.