The truth is that to speak of Portofino is like talking about beauty. The reality of it fills the eyes and imposes itself on all those who come here, whether it be by land or by sea, and is far stronger than any word written in a magazine or newspaper. However, our intent is to attempt to carry out this endeavour. We continue to find useful material, we continue to find stories to tell. Portofino, more than a gem, is a cherished jewel box which stores many, many things.
In particular, as we said; beauty. How to define beauty? According to the writer Paul Valery it is easy: it is that which leads to desperation if one does not have it. Valerio Venturi. Un luogo autentico, con una storia ultracentenaria, eppure glamour e capace di reinventarsi. Come si fa? Si trova sempre materiale utile, si trovano sempre vicende da svelare.
In particolare, dicevamo, la bellezza. Definire il Bello? When reason and instinct are one and the same. The duality between rationalism and emotion is a battle of opposites which has always been fascinating due to the strong contrasts of its character, adhering to one or to the other with no possibility of conciliation.
Thanks to the council of friends: Stefano Bonadeo, Giacomo and Franco Loro Piana, Guido Falck and Francesco Guerci, an amateur sporting association was established with the aim of uniting as its members, lovers of the sea and nautical activities and thence to promote these activities. To this end it coordinates companies to enhance the quality of service and opportunities to consolidate the primacy of its place in the world. The company encourages the formation of an authentic, loyal spirit of solidarity and collaboration among all those operating in commerce and tourism, creating partnerships with hotels, tour operators and service companies.
The SSD also collaborates with Town, Regional and National governmental institutions and works closely with the national and international media. YCP today is a brand which wants to establish its identity as the only one of its kind in its district. The association will however remain always present as we want it to be the history and the roots of this project.
E' eleganza che si fa efficienza, una bellezza tangibile che non vuole essere solo guardata, ma messa alla prova e vissuta pienamente. Shopping in Portofino Portofino, pearl of Tigullio, as well as being famous for its excellent restaurants and for its unique colours, is also able to satisfy even the most demanding shopping clientele.
The Portofino Nature Park Is the northernmost coastal Protected Area in the Western Mediterranean, its views and countryside among the most famous in the world. In just a few steps, one goesfrom cool Apennine woods to a sundrenched Mediterranean world, from the civilization of the chestnut tree to that of the olive, from farming traditions to traditional activities linked to the sea and fishing. Francesco Guerci. Giacomo, your family have been regulars of Portofino forever. What does Portofino represent for you today?
It is a constant anchor, and in a certain way it is synonymous for me with Home. I lived away from Italy due to work obligations and when I came back I was able to appreciate all that Italy offers: places like Portofino, which are unique. To be able to reach Portofino for the weekend, only an hour and a half from Milan, after a week lived at a frenzied pace, is worth its weight in gold. The way Portofino has evolved over the last decades is different compared to other places.
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It may seem strange but it has remained rather out of the limelight. Portofino is no more. This may all seem melancholic but from a certain point of view it does give the chance to live life in the village in privacy and away from excess. There is no doubt that the little port remains an unmissable stop on the summer routes for yachts, mega yachts and VIPs; at the same time however, nowadays it is possible to live it easily, spending a day of leisure without any particular expense.
As far as I am concerned every time is different because it is here that I meet lifelong friends with whom I spend my free time. Portofino has indeed been a stage for fashions and famous people, a place for the international Jet Set. An involuntary ambassadress for a refined but at the same time authentic and sporting lifestyle. What would you save from past decades, and what would you bring back today? Without a doubt, I would save the possibility to continue to live it as it once was, for the direct relationship with the extraordinary natural beauty of its sea and mountain.
Portofino still offers the chance to spend quality time either in solitude or with those we want to be with. As far as I am concerned, as a fan of sailing, this means spending three or four weekends throughout the winter in sporting activities and pitting myself against Tigullio sailing. The feeling one has out in a boat at dawn on a Sunday morning, admiring the colours of the winter sky which are so spectacular, is difficult to explain.
When one reaches Portofino by road from Paraggi, it slowly reveals itself and it is surprising how, every time, we are amazed by its beauty. What is it like as it comes into view, arriving from the sea? The magic of arriving from the sea into a secure port made safe thanks to its natural morphology and above all intact since , opens my mind every time and leads me relive what are surely the same sensations as those of sailors from centuries past.
A surreal feeling, when for example, one arrives after days of sailing and alights in such a beautiful and welcoming place even just to have a cold beer. Which for you is the season to live your ideal day in Portofino? Always, but particularly in spring…. Yes, it is romantic! For someone coming for the first time, I would suggest they should definitely try the trofie pasta with pesto sauce and freshly caught fish, prepared Liguria style.
For someone who has only the weekend at their disposal, what would you suggest they do, if arriving by boat or by car? By boat: a night at anchor, exploring the coastline between Portofino and Nervi in a small dinghy. By car: I would suggest parking in Paraggi, and going to Portofino on foot and exploring the streets of the village and taking a walk to the lighthouse. Tell us about something not to be missed in Portofino. The onion focaccia! Giacomo, la sua famiglia frequenta Portofino da sempre.
Cosa rappresenta Portofino per lei, oggi? Ambasciatrice involontaria di uno stile di vita raffinato ma allo stesso tempo autentico e sportivo. Che cosa salverebbe dei decenni passati, cosa riproporrebbe oggi? Per me, appassionato di vela, questo significa vivere tre o quattro week-end durante. Come si presenta ai suoi occhi quando la raggiunge dal mare? La magia di arrivare via mare in un porto sicuro grazie alla sua morfologia naturale e, soprattutto, intatto dal mi apre la mente ogni volta e mi porta a rivivere le stesse emozioni probabilmente vissute dai marinai secoli orsono.
In quale stagione vive la sua giornata ideale a Portofino? Sempre, ma in particolare in primavera…. Per chi arriva la prima volta consiglio assolutamente di provare le trofie al pesto e del pesce alla ligure, appena pescato. Per chi avesse a disposizione soltanto un week-end, lei che cosa suggerirebbe di fare a seconda che si arrivi in barca oppure in automobile? In barca: una notte in rada ed esplorare la costa tra Portofino e Nervi con un piccolo dinghy.
In auto: suggerisco di parcheggiare a Paraggi, di raggiungere Portofino a piedi e di esplorare le vie del borgo raggiungendo in passeggiata il Faro. Ci dica qualcosa di imperdibile a Portofino. La focaccia alla Cipolla! At the core of an avant-garde ship yard, Baglietto tailors the dreams of its present and future ship owners. Cutting edge since But what is unseen, is also important: the sea which the bay looks onto and the riches therein.
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The sea bed is at between 40 to70 metres deep and is teeming with life: typical Mediterranean fish, unique fields of Mediterranean seagrass, coral. In the blue vastness of this Ligurian sea there is a succession of particularly interesting scuba diving spots. Places such as Punta Chiappa, to the East of the promontory; canyons, caves — the famous one is Gamberi — rocky outcrops and red gorgonia, corals and sponges.
Then there are the famous shallows Isuela and Isuelita, or the Portofino lighthouse point, sometimes not accessible due to strong currents but which is rich in underwater flora and fauna. The body of water in front of the San Fruttuoso abbey is unmissable: holding The Christ of the Abyss in its depths: the large bronze statue — famous around the world — portrays Jesus with arms outstretched: in memory of those who have died at sea and a tribute to those who dedicate their lives to the sea. As well as natural wonders, the depths offer other.
There are many and they are certainly unusual. I fondali, profondi dai 40 ai 70 metri circa, sono ricchi: pesci tipici del Mediterraneo, praterie uniche di Poseidonia oceanica, coralli. Come Punta Chiappa, ad ovest del promontorio. Quindici sono le famose secche Isuela e Isuelita, oppure la punta del faro di Portofino, a volte non fruibile per le forti correnti ma ricca di flora e di fauna subacquea.
Oltre alle bellezze naturali, gli abissi offrono altre suggestioni: i relitti. Ce ne sono molti e sono decisamente particolari. Oppure Jorn, la bettolina di Sestri Levante, o una. In just a few steps, one goes from cool Apennine woods to a sundrenched Mediterranean world, from the civilization of the chestnut tree to that of the olive, from farming traditions to traditional activities linked to the sea and fishing.
Protected since , the Park is host to one of the largest floristic concentrations in the Mediterranean, a considerable variety of birds and invertebrates as well as historically important architectonic elements. A network of over 80km of trails gives walks and excursions of varying length and difficulty. Wearing hiking boots, it is possible to follow the dense network of itineraries which cross and reach wild areas, spellbinding countryside, panoramic heights, bays and cliffs, rural hamlets and villages steeped in history and art.
For further information: Portofino Park Authority Tel. Per maggiori informazioni: Ente Parco di Portofino Tel. Associate s. Santa Margherita Ligure www. Once inhabited purely by fishermen, over the years this village has become an elite spot to approach and stay at for vessels and yachts of even great dimensions. From here there are different guided excursions by sea to reach different destinations all of which are close to one another.
Among these, the first that one comes across after leaving the port and bearing right, is the bay of San Fruttuoso: an ancient fishing village of which one can still see the obvious remains, offering to those who come close, the sight of the distinctive X-XI century abbey. A unique and enchanting place, under the care of the Fai organization, where time seems to have stopped and where upon alighting it is possible to lunch or dine in several restaurants which offer fish caught here in the bay and offering menus typical to this corner of Liguria we recommend Da Giorgio both for the quality of the raw ingredients and for the splendid panoramic location.
Continuing the boat trip, we come across the splendid setting of Punta Chiappa and the Trattoria. Do Spadin, a truly special place with excellent typical local dishes to savour with a good fresh Vermentino. A little further on, beyond the head, rises Camogli, a picturesque and ancient little town with typically colourful houses and a small port, harbouring antique fishing vessels.
Here we find Osterie and Ristoranti offering local specialities and elegant bars for a sea-view aperitif. Going back towards Portofino, before. Punta Chiappa, and during the fishing season, the ancient tuna nets can be seen at work, the last in Liguria with memorable catches still made. Returning in the direction of the lighthouse one can stop for a relaxing swim in Cala Inglesi, a real institution for lovers of scuba diving, to immerse oneself in the splendid clean waters of the Olivetta and Cannone bays, in a truly beautiful sea close to fantastic villas.
Between Portofino and Santa Margherita we suggest a swim in the green waters of the bay of Paraggi, surrounded by centuries-old maritime pines; one of the most beautiful and exclusive beaches in Italy. Towards Santa Margherita we find Capo Nord, a small and incredible restaurant right by the sea, a real oasis of peace and elegance with a breath-taking view, best enjoyed in the evening, offering refined and raw sea-food dishes.
Just above the restaurant, soars the majestic Abbey della Cervara, once known as Silvaria due to its dense vegetation. Built in , it was originally the Comboniano monastery and in around it passed to the care of Benedictine monks. As well as the Abbey, a visit to the splendid and unique Italianate monumental garden, the only one still preserved in Liguria today, is a must.
In the direction of Santa Margherita Ligure, one can stop for a swim near the Knights of Malta Castle and beyond, towards Zoagli, in the pristine coves near to the Marina di Bardi, Sem Benelli Castle and in the natural sea caves nearby. Partendo da qui si possono scegliere diverse escursioni guidate via mare per raggiungere mete diverse ma tutte tra di loro vicine. Fruttuoso: antico villaggio di pescatori di cui ancora oggi ci sono evidenti vestigia, offre alla vista di chi accosta al piccolo imbarcadero la caratteristica Abbazia risalente al X-XI Secolo. Proseguendo la gita sul mare si incontra, affacciata nella splendida cornice di Punta Chiappa, la Trattoria Do Spadin, un vero e proprio luogo del cuore con ottimi piatti tipici locali da assaporare con un buon Vermentino fresco.
Tra Portofino e S. Verso S. Margherita troviamo Capo Nord, un incredibile e piccolo Ristorante proprio sul mare, vera oasi di pace e di eleganza, con una panorama mozzafiato soprattutto la sera e dove si gustano piatti raffinati, anche di pesce crudo. In direzione di S. An unearthly experience, you have never felt anything quite like it.
Every Constance Hotels and Resorts establishment forms a seamless addition to a location carefully selected for its beauty and communion with the waves. Pearls sparkling in the pristine seas. Poulie-simplemm The countdown can begin and the chronograph is started. The elapsing time is read on a three-dimensional skeleton dial. But superyachts are more than this: key trends sounds like 5-star luxury treatment, finest creations, A-list destinations around the globe and very high level of expectations.
This is where Imperial acts with its Luxury Yachting degree experience, distinguishes itself from the giants of the market in a highly competitive domain. It is the guiding principle behind a full-spectrum approach to all things marine. Imperial developed and grown a comprehensive, degree service, from initial concept, finance, design and construction, to management, charter, maintenance and marketing.
Among them, the magnificent RoMEA. Numbers are impressive aboard RoMEA: accommodation for 12 guests in 6 en-suite staterooms 4 Double and 2 Twin cabins and 23 crew; a cruising speed of 14 knots and a range of nearly 6, nautical miles authorizing long cruises. RoMEA will cruise the Mediterranean waters this Summer and prepare the Winter season with some surprises hot spots to explore. Could you explain to our readers the concept and value of this important designation.
It does actually have great value. We were honoured with this designation in as the premier port of the Tigullio. We have obtained the Quattro Nodi, the highest accolade awarded by the Regione Liguria for the quality of services offered to our clientele. You offer different services to meet every need: who is your typical client? Marina di Portofino is much coveted, frequented by the most beautiful boats in the world, their owners and crew.
Portofino is a brand and is frequented by an elite tourism. The top yachts of the Mediterranean come to us from May to October and then in winter they move on to the Caribbean.
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Professionally we guarantee absolute privacy about the names, habits and requests of our clients. Over the last few years, which was the largest and most spectacular yacht to be moored in Marina di Portofino? How many people are involved in the Marina di Portofino organization under your management and what are the professional competencies required to become a part of it?
Our team is composed of professionals, each working in his specific area of competency. At the key time of the year which coincides with late spring and the end of the summer, we have 12 authorised personnel who work in pre-booking, booking and client management during their stay. We have a boatswain and we guarantee the services of mooring men, divers, drivers and security personnel. Ha in effetti un grande valore. Siamo stati insigniti nel di questa nomina come primo porto del Tigullio.
Arrivano da noi i top yacht del Mediterraneo che ci frequentano da maggio a ottobre e poi, in inverno, si spostano nei Caraibi. Professionalmente garantiamo assoluta privacy sui nomi, sulle abitudini e sulle richieste dei nostri clienti. Abbiamo un Nostromo, e assicuriamo servizi di mooring men, divers, drivers, security. With everything ready, after a few months, we started to use it and go on little voyages…At the end of the summer we realized that none of us had thought about using our beach house.
The test was a success. We wanted to spend our free time sailing. After a year spent travelling around shipyards across Europe and many try outs, my father decided. It was on the 14th of April , the day of our first trip out on Emotions, that I began to become really passionate about sailing, to understand how it worked and that each small adjustment corresponded to a reaction. We were almost atypical sailors, sad when there were beautiful sunny days and happy when the weather was bad. I have lost count of the number of times we were the only sail boat to leave the harbour in Lavagna.
I cultivated this passion day after day on Emotions, never wanting to leave it, always with my father and his best friend Giorgio Diana — a real guru of sailing — who came to us on the boat, the minute he could get away from work. And so began the first regatta experiences, almost always as winners, between the Gulf of Tigullio and Sardegna. My best friend and sailing companion Antonio gave me the strength to go back. Proprio con l? La caratteristica festa del patrono San Pardo si svolge il 25, 26 e 27 maggio, ed? Le origini di questa festa sono datate nell'anno quando alcuni abitanti sopravvissuti all'invasione dei Saraceni, trovarono il sepolcro che racchiudeva il corpo del Santo, considerandolo come un ritrovamento divino, i larinesi elessero il Santo come loro protettore, caricarono le sue spoglie su un carro rivestito di fiori e lo portarono in citt?
L'allestimento dei carri oggi se ne contano circa ? I carri sono trainati da pecore, vitelli, mucche e buoi, artisticamente addobbati e ricoperti di fiori. Il Carro rappresenta il simbolo della famiglia tramandato da generazione a generazione, in segno di continuit? Ciascun carro?
Gli ideaotori hanno creato gi? Diresse i conservatori di Firenze e Napoli. Assieme a Giuseppe Mul? Larino is certainly one of the most interesting towns in Molise. Immersed in the fields of olive and a flourishing vegetation, is famous for the many testimonies of the past. The amphitheater and the Roman mosaics, the sumptuous palaces, noble houses and churches, including St. Francis, now also show traces of a millenary history. Urbs princeps frentaronum the old called to stress the importance grew in the past from this city of low Molise, which was one of the main land of Frentani.
The wealth agro food was during the Roman period without significantly on the city, wealth witnessed by precious mosaics and the Roman buildings distributed throughout the modern city. The most conspicuous Roman town is to be placed between Tower St. Other buildings of merit have been found in Pian San Leonardo, un po 'in the amphitheater to the south from here come two of the most beautiful mosaics discovered in Larino and now visible in the ducal palace.
The country also offers a vriet? Was modified to achieve the installation of road Larinum, necessitating an excavation in rock for more than six meters below the road. The shape is elliptical, with walls mainly in opus reticulatum. It had four inputs distributed on the two ends of the axles to the top summa cavea accessible by external stairs double wing. Twelve ports vomitoria allowed access to the stairs.
The building retained its importance even in the early Middle Ages, when it was transformed into a place of defense by the people of Larino. Epigraph Mario Rapisardi '? Throughout history the dell'Anfiteatro was changed as needed. Here was built a new cathedral dedicated to San and Pardo.
It is a church in Gothic-Romanesque consecrated July 30 on building a more ancient: it is known already in the ninth century. Among the most beautiful of Molise, a prospectus has a crown and a horizontal portal Gothic lancianese attributed to Francesco Petrini. It is decorated with columns ortili to weave bezel and ogival there is a representation of Christ on the cross flanked by the Virgin and St. Top There are two windows separated by a wide frame and a large rosette-type pugliese unusually thirteen rays.
The interior has three aisles divided by tall arched ogive five left and two right resting on a sturdy cross-shaped pillars with elaborate capitals. The single-lean with apse is a square covered by a cross vault. The walls were originally covered with frescoes of the late of the full three hundred and four hundred, some of which remain shreds representatives Sant'Orsola and companions, St.
Michael the Archangel and St. On the right side of the portal network rises bell due to many hands: the basement is the work of Giovanni da Casalbore of , but certainly should be considered a reconstruction on a previous structure, the first floor, brick walls covered with bone Fish is the work of Between the walls lies an Annunciation in fresco.
The same era are the tabernacle and a relief depicting Christ blessing between angels and cornucopias seats on the left wall of the nave. Above the two stone reliefs, there is the immaculate conception, the painting attributed Solimena. In the sacristy there are the baroque high altar and the bishop's throne in inlaid marble, works of Neapolitan Lorenzo Troccoli. To mention two wooden panels representing the Last Supper and the entrance of the body of San Pardo in Larino, ornaments of a confessional now disappeared. It is published twice a year: in April and in November.
Submissions should be both printed and in electronic form and they will not be returned. Translations must be accompanied by the original texts, a brief profile of the translator, and a brief profile of the author. Brooklyn, NY Subscription rates: U. Payments in U. Essay on translation Gaetano Cipolla Essay on Camilleri Caselli Perspectives on an Emerging Discipline. Alessandra Riccardi. Cambridge: Cambridge UP, che non gli studi tradizionali. Amsterdam-New York: Rodopi, The Theory and Practice ed. Avadhesh K. Gli esempi e le analisi che Venuti presenta sono molto meno convincenti delle sue premesse chi si basa su un metodo specifico spesso lo usa in modo troppo meccanico , ma il suo contributo—per me—porta la discussione nella direzione giusta.
Mi sono divertita a pensare a un titolo per queste mie poche parole sulla traduzione. Nel tradurre si attinge anche, coscientemente o no, alla conoscenza che il corpo ha raccolto e elaborato durante tutta la sua vita. Odori, suoni, sensazioni tattili, gesti, colori, diventano rapidamente per ognuno di noi parte di un raffinato complesso interpretativo. E chi traduce per professione, dove si posiziona in questa storia? Per soddisfare la propria passione si fa della traduzione un mestiere anche senza alcuna ricompensa eccetto il proprio godimento. Che cosa fa chi ama?
Ma rimane sempre un millimetro al di qua. Lo stesso avviene per chi ama qualunque testo. Chi traduce si trova preso fra due universi che lo attraggono e lo eludono. Cosa concludo? Infine: ogni traduzione si propone, anche senza esserne cosciente, come seduzione verso la conoscenza del testo di origine. Opere utili AA. La traduzione. Saggi e studi. Trieste, Banti, Anna. Le Ton beau de Marot. Trilogia: tematiche in traduzione. After Babel. Aspects of Language and Translation. Udine: Campanotto, Translation Studies.
Cambridge: Cambridge UP, Translation. The Theory and Practice. New Delhi: Creative Books, The Magician, China Ink, 70x50 cm. His books seem to be ubiquitous and he seems to have an inexhaustible supply of them stashed away in his desk drawer. The straight and immediate answer that comes to my mind is that you really cannot translate Camilleri, if you expect to present an English-speaking Camilleri. The reality is, however, that translation has al- ways been part of the literary world and it has been accomplished in various degrees of fidelity since the beginning of time.
As a prac- ticing translator I am more interested in the pragmatic aspect of translation that accomplishes every day something that presumably is impossible to do. Thus, it is true, Camilleri is impossible to trans- late, but I venture to say that his books will in fact be translated one after the other. Already the first translation has come out. A translator faces three different challenges of various difficulties. The first is the fairly straight forward problem of translating Italian into En- glish which ought not create much of a problem; the second is the frequent use of the Sicilian language—notice I said language, not dialect—in dialogues with people who for one reason or another speak in that language.
This too should not represent an unsurmountable difficulty since Sicilian is a language like all the others and as such can and is normally translated to English. The easiest way of translating these dialogues is to add a qualifying sen- tence that says these words word were spoken in Sicilian. Another way could be to translate the dialogues into slang or colloquial speech. The third and certainly the most difficult subtext to trans- late in Camilleri is his unpredictable and whimsical interspersing of the narrative with Italianized Sicilian words. The use of these words, in fact, distinguishes Camilleri from other Sicilian writers such as Vitaliano Brancati, Sciascia or Bufalino, who used Sicilian occasionally but always with transparent objectives.
At any rate, it is probably the most recognizable feature of his style and no doubt contributed, in some measure, to the huge success of his work. This kind of linguistic code-switching is not discussed by aca- demic translation theorists and practitioners. No one, at least as far as I have been able to read, has addressed the problem from a theo- retical or practical point of view.
Luigi Bonaffini in an article on the translation of dialect poetry confirms that the American translators he has studied completely ignore the problem and proceed as if the original texts were written by a monolingual author. But this is a serious problem, especially when you translate from Italian which is unique among the romance languages for having dialects that are not dialects but different languages that boast of a long and impor- tant literary tradition.
Thus, translation theorists are not much help to us in this endeavor. It constitutes an intrinsic part of his style and as such its function must be understood before any attempts can be made not to duplicate it—because that is im- possible—but to come as close to it as possible.
To develop a strat- egy the translator must understand what Camilleri is trying to ac- complish by interjecting the Italianized Sicilian into his narrative. This task is not an easy one and it certainly would require a great more study than I have been able to devote to it. Nevertheless, a few observations can help us to orient ourselves as we attempt to offer solutions to the problem at hand. With this in mind, I picked out at random a paragraph from one of the thirty stories in Un mese con Montalbano, the Sicilian po- lice inspector whom the French liken to their Inspector Maigret.
Campava dimandando la limosina, ma con discrezione, senza dare fastiddio, senza spavintare fimmine e picciliddri. The italics are mine and indicate Sicilian words and expres- sions that the author uses throughout the book as an intrinsic com- ponent of his style. For the moment, we will postpone any consid- eration of how these stylistic devices characterize the text. The author here is making great demands on the translator. The italicized words are in effect Sicilian words that have been modi- fied to sound Italian by changing a vowel or two, and they can be understood because the author placed them in a context that even non-Sicilians can guess at, even though they may not know the ex- act meaning.
Calorio is thus the shortened form of Calogero, but it is not Caloriu, which is the exact Sicilian name. The word paro is the same as paio in Italian, but in Sicilian it would be written as paru. In fact, in the first edition of Il filo di turno, the editor at Mondadori required Camilleri to add a glossary that would ex- plain the Sicilian words to non-Sicilian readers. This feature has been dropped from subsequent books because it is in reality unnecessary for Italians. They can understand the text because Camilleri has be- come more skilled in placing them in a context that explains them better.
Even if the terms are not understood exactly, Italians have a good idea of the possible meanings. At any rate, the presence of these words adds a certain strangeness to the narrative that the trans- lator cannot ignore. The use of the form Calorio instead of Calogero has two pur- poses: it identifies the locus of the action and it suggests that the person has also been adopted as one of their own even though he is a foreigner. Saint Calogero, if I am not mistaken, is in fact the patron Saint of Sciacca and a few other towns in the Agrigento province.
So perhaps a note should point this out. There are cases when the Sicilian term used does not have an Italian coun- terpart and Camilleri uses it because the Sicilian is far more expres- sive and renders better what he had in mind. But in general, there does not seem to be any logic, either linguistically determined or contextually driven for the intrusion of such terms. Their presence does not seem to emerge out of a need to make a particular state- ment. I suggest that two of the reasons for the interjections are primarily to add color and to identify the narrator as a Sicilian.
Ulti- mately it seems to me that Camilleri probably speaks like that him- self, that is, from time to time, and in an unpredictable manner, he interjects Sicilian words into his speech. If that is so what purpose do the interjections have. It is a method of drawing the readers into the web that he is spinning, an act of captatio benevolentia. Sicilians have been historically conditioned not to speak in their own language to strangers or anyone whom they do not know or trust.
As a literary ploy this is not new.
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Boccaccio establishes the same kind of relationship with his readers, a kind of complicity between author and reader that ex- cludes some of the characters themselves. As Boccaccio lets us be a knowing audience, participants in the joke, Camilleri by using his Sicilianized Italian or Italianized Sicilian is forming a bond with the reader who understands—the trick is that after a while everyone understands—and the use of a different code does not exclude any- one.
He had come to town, —nobody knows from where—about twenty years back, with a pair of pants more holes than fabric, tied at the waist with a rope, with a little jacket with so many patches he looked like a Harlequin, barefoot, but with very clean feet. He begged for a living, but discreetly, without bothering anyone, or scaring the women and children. He could hold his wine well, when he could afford to buy a bottle, so much so that nobody ever saw him even slightly drunk, in spite of the fact that there had been times during feast days when he had put away quite a few liters.
Few would argue that this is not a faithful rendition of the Ital- ian text, in terms of the information conveyed. Having lost the metalinguistic com- ponent, i. What options are open to a translator? It seems to me that if he wants to maintain a multilevel linguistic code he must couch his rendition with a least two, and possibly more, linguistic codes that would be accessible to the readers.
If the audience for the novel is English, the translator could try to use standard English with American English as subtext. If he is American he might uti- lize expressions and idiomatic sentences that can be identified with a local dialect to render the Sicilianized Italian expressions. Naturally the risk is great that the translator would introduce an alien dimensions into the novel, disregarding the fact that the ac- tion takes place in Sicily and such interjections would be consid- ered out of sync with the environment. Failing this option, it seems to me, the only option left for the translator is to develop his own multiple level language made up of sequences that he himself con- siders normal and interjecting from time to time expressions that deviate in a consistent way from the dominant language.
With this in mind let us try a different rendition of the passage we have already translated. About twenty years back, he had turned up in town from God knows where, with a pair of britches that were draftier than a barn on account of the many holes, tied with a rope around his waist, and with a raggedy jacket so patched up he looked like a circus clown. He walked barefoot, but his feet were spotless. He held his liquor so well, when he could scare up enough to buy himself a bottle, that nobody ever saw him even slightly pickled;tough there had been times on Feast days when he had put away quite a few quarts.
The italicized words were chosen to convey a subtext normally associated with a slangy, folksy, homespun, Southern vocabulary that mimics though not in an obvious way what Camilleri is doing. No translator expects a perfect correspondance between his version and the original. Trans- lation is like riding a seesaw with the translator sitting on one end and the original author on the other. The important thing is to maintain a balance that allows peaks and valleys on ei- ther side. Some time the translator will overshoot the target, some- times he will come up short.
I think that after a while the translator would de- velop a sub language that would serve him well whenever his fancy called for it. But it would be almost like speaking in falsetto. The danger to overdue it, of course, would be ever present. This danger must have dawned on Camilleri himself, for as his stories develop, he seems to lighten the dosage of the code-switching to a bare mini- mum and often dropping it altogether. And I must say, he solved the problem by com- pletely ignoring it. In all fairness to him, I think Sartarelli did a cred- itable job. But the code-switching that we have talking about is completely ignored.
Poi fu Saro a rompere il silenzio. Puis ce fut Saro qui rompit le silence. To get to the Pasture it took half an hour, if one was slow of foot as they were. The first fifteen minutes they spent without speaking, already sweaty and sticky. It was Saro who broke the silence. As you can see, neither translator has acknowledged the code- switching or made an attempt to go beyond the surface meaning of the words and even at that level one could be picky and find unfelicitous renderings. In the process, however, he mistrans- lated the sentence.
It also means an inability to speak. The word is strangely onomatopeic. He wanted to convey the considerable energy required to make the carts move forward. Simply pushing or pulling would not do. So here is my tentative version: Pino and Saro started out toward their assigned work area, each leaning forward on his cart. It would take half an hour to walk to the pasture if you moved one foot after the other as slowly as they were doing. They spent the first quarter of an hour, already sweaty and sticky, stubbornly clinging to their silence. Then Saro was the first to speak. Americans generally do not use the word and some would have to look it up in a dictionary.
Hence the English translations of his work will inevitably be monovocal. The writings on translation by two household names of literary mod- ernism — Ezra Pound and T. Eliot — and by two minor modernist and late modernist figures — Arthur Waley and Dorothy L. Sayers — draw attention to how theories of translation have been instrumental in defining the poli- tics of national and literary identity in the twentieth century.
My analysis will focus on writers who enjoy the status of original authors Pound and Eliot and writers almost exclusively known for their translating activities Waley or enjoying popularity thanks to their detective fiction and academic credentials Sayers. This comparison will look at the relationship between modernity and the past, genius and context, and elitism and democratiza- tion, always through the vantage point of theories of translation.
This will lead me to explore how the politics of translation and the politics of literary history are intertwined. It was not given to the Romans, or generously to their successors, the Ital- ians. Most importantly, his influence derives from the translations of his tragedies which circulated at the time: the Tenne Tragedies e il Heywood and Studley still use the fourteener, but they juxtapose it to the blank verse in the chorus — which gives the transla- tors an opportunity for adding, reducing, omitting and substituting in order to increase the dramatic effect — thus creating a contrast between old and new.
Eliot reads the translations in the Tenne Tragedies as a historical pas- sage from the old Tudor language, still chained to Chaucerian models, to the Elizabethan one, based on Seneca. Such a renewal is not only formal but also semantic, lexical, and epistemological. Eliot develops a notion of English tradition by distin- guishing on the one hand its Anglosaxon past, a non-dramatic past, and on the other the foreign influence, or, even better, the Latin influence a term which in this essay spans from ancient Rome to the Italian Renaissance.
The Elizabethan period is thus the foundation of a notion of Englishness,7 it is the historical locus in which tradition recognises its own origins. Pound is more respon- sible for the XXth Century revolution in poetry than is any other individual — is sure to attack some venerated names. It is based upon a vivid shorthand picture of the operation of nature. In the algebraic figure and in the spoken word there is no natural connection between thing and sign: all depends upon sheer convention. But the Chinese method follows natural suggestion. Chinese poetry has the unique advantage of combining both elements.
It speaks at once with the vividness of painting, and with the mobility of sound. It is, in some sense, more objective than either, more dram[a]tic [sic]. In reading Chinese we do not seem to be juggling mental counters, but to be watching things work out their own fate. Trans- lation, the moving across cultures, and the publication of works with both original and facing translation are thus presented as a way of regenerating the West linguistically and culturally.
The work lives not by them but despite them. Obscurities inherent in the thing occur when the author is piercing, or trying to pierce into, uncharted regions; when he is trying to express things not yet current, not yet worn into phrases; when he is ahead of the emotional, or philosophic sense as a painter might be ahead of the colour sense of his contemporaries. This is ex- emplary of the very problematic role which translation plays in Pound. Hanno una funzione nel programma educativo del Fascismo anche se non ce ne rendiamo pienamente conto.
Mussolini e Hitler per magnifico intuito seguono le dottrine di Confucio. Non basta leggere una sola volta una sua versione, bisogna, come io stesso continuo a fare, leggere e rileggere il testo originale e ideogrammico col commento accanto. They have a role within the fascist educational programme even though we might not fully realise this.
King Vittorio Emanuele is a Confucian sovereign. It is not enough to read once his translation, one must — as I do — read and reread the original text written in ideograms with its facing commentary]. Such a regime is represented by Confucius and Mang Tsze, who represent a different kind of otherness able to rejuve- nate a decadent society. Such Confucius and Mang Tsze are eminently Poundian characters, who are said to be different but mirror what is already there: the totalitarian state.
The invisible translator: Arthur Waley Arthur Waley is the first twentieth-century writer to translate the great names in Chinese and Japanese poetry, giving shape to a picture of the East which will dominate the West for over a century. For Eliot, the original is matter an sich, unknowable by definition: thus, every translation must be rethought as an interpretive exercise bound to its own time, able to enrich and renew the existing poetic tradition.
Anna Dolfi Rome: Bulzoni, , Notes 1 T. Eliot London: Faber and Faber, , pp. Litz New York: Garland, , vol. Ta Hsueh. Dai Gaku. See also Ezra Pound and Japan. Letters and Essays, ed. VIII, pp. This latter taste has occasionally broken out in Europe, notably in twelfth-century Provence and thirteenth-century Tuscany, but it has never held its own for very long.
III, pp. Said, Orientalism New York: Pantheon, Alla cieca by Claudio Magris translated by Anne Milano Appel Anne Milano Appel, a former library director and language teacher, has been translating professionally for more than ten years. Sev- eral of her book-length translations have been published, and shorter works that she has authored or translated have appeared in other professional and literary venues. A versatile and prolific writer, his work includes essays, novels, plays and trav- elogues, often with a blending of genres. Among his works published by Garzanti are: Dietro le parole , Itaca e oltre , Illazioni su una sciabola , Danubio ; published in the United States as Danube in to great acclaim , Stadelmann , Un altro mare , Microcosmi , for which he received the Premio Strega and which appeared in English in as Microcosms , and La mostra He lives in Trieste.
Or better yet, he says, novels are expanded gravestones. To be sure, there are similarities between the two works. Still, the formal differences are the most strikingly apparent. Since Magris is postmodern, in his hands the classical stories of Jason and the Argonauts, Eurydice and Orpheus become upended myths, archetypal narratives turned on their head. In Alla cieca, Ja- son and his crew bring Greek culture but also violence, civilization and barbarism, when they go in search of the Golden Fleece, and the fleece is sullied.
She is the woman who protects, the donna-scudo, but also the woman who can lead to ruin. Both fig- ures are connected with abandonment and loss, as well as with de- liverance and salvation. Nor is it surprising that ambivalence is the dominant note. The an- swer, like the sea, like life itself, is ambiguous, or rather ambivalent, multi-valent. In a context that embraces the coexistence of opposites, of a multiplicity of values and meanings, the figurehead is both posi- tive and negative… and more. Lei non ha mai provato la paura? Si sa quello che si deve fare e sotto a chi tocca.
Ma quel-la sera a Londra, sbarcato dalla Jane, in quella locanda, con quella ragazza, non sapevo chi comandava e chi obbediva. But I only understood this later, much later than that night in London when, fleeing from that girl, I ended up running into an impressment squad, that dragged me onto a scow on the Thames and from there on board a fine warship, the Surprize.
Yes, I fled. It happens. You know what you have to do and under whose command. My body was there, remote, sweaty, chilled; I felt that when it came to love, even the five-minute variety, no one is in command and no one decides. To be sure, that time I did not get to drink any beer, the forced labor impressment squad grabbed me almost immediately, in the alley, before I could slip into another tavern. Mi piace una biografia che racconti tutto quello che uno non fa — Ma bisognava esserci, quella sera, per capire That night I fled, a deserter from the battlefield of love, savage like all battlefields.
If only I had always fled like that, later on as well, perhaps now — later instead I was no longer able to flee, or abandon the flag. Per un attimo, per esempio, ho creduto, intravedendola sulla strada, che fosse Mangawana; che anche lei avesse attraversato il grande mare. Invece a Fiume, quel giorno The fault of that revolving door, with the glass panels, at the cafe Lloyd, in Fiume, where we would go some- times in the evening. One time I saw her arriving; I was already in- side waiting for her, she crossed the street, smiled at me from be- yond the transparent door and entered it, turning the panels; as she passed between them her figure and her face were mirrored in those revolving plates of glass and shattered into changing reflections, a handful of luminous, fragmented splinters.
And so, between one revolving door panel and another, she disappeared. I must have stayed there a long time watching those glittering door panes; years sitting inside there, as the door revolves more and more slowly and nobody enters. For a moment, for instance, catching a glimpse of her in the street, I thought it was Mangawana; that she too had crossed the great sea. Instead it was Maria — yes, she was also Mangawana, be- cause Maria was the sea into which all rivers flow.
Loving a woman does not mean that you forget all the others, but rather that you love them and desire them and have them all in her. When we made love on the solitary beach of Levrera island or in that room in Miholascica, there was also the austral forest at the edge of the ocean, Terra Aus- tralis Incognita, the unknown land of the South.
Non vorremo mica declamare tutto il libro, adesso, no? Potessi cancellarle anche dal mio viso, come le piallo e spiano via dal volto di questa polena, le rughe incise dal mio cuore, mie e solo maledettamente mie. Ergoterapia, Arbeit macht frei, conosco la cura. Non avrei neanche bisogno, a dire il vero, di quei bei cataloghi illustrati che mi date per copiare le fig- ure.
Non sono un novizio, mi guadagnavo due soldi anche fabbricando o aggiustando un paio di polene per qualche nave che arrivava a Hobart Town con la prua e la figura di prua scalcagnate. Look at that face — beautiful and generic, the caption says, like beauty should be, purified of every incidental, par- ticular dross, of any doleful individual expressivity. Would that I could erase from my own face as well — the way I plane and smooth them from the face of this figurehead — the lines carved by my heart, that are mine and accursedly mine alone. A good idea, doctor, this idea of making us work, of not letting us grow melancholy, twid- dling our thumbs; to each his own task, his specialty.
Bella questa illustrazione, una bianca polena ignota conservata, scrivono sotto, al Museo Marittimo di Anversa. Mi piace anche scolpirle e costruirle. Gli occhi di Ma-ria In any case, men suspended over the depths al- ready have too much fury in their hearts and require serenity, namely, impersonality as colorless as water. Take a look at those X-rays in your drawer, at how mushy my brain is.
Just imagine whether the noble, inexpressive face of this figure- head of Anversa could ever be reduced to this, even Dachau would leave her cold. I also like to carve and sculpt them. I wish I could copy all of them, all the figures in this catalog, unacquainted with passion, with sorrow, with identity — unaware like that, of course being immortal would be worth it… It says here that Thorvaldsen, a master of neo- classic sculpture, served his apprenticeship in the studio of his fa- ther, who carved figureheads for the Danish fleet — like me, creator of these figures that nobody will be able to send to forced labor camps.
Look how well they turn out, the torso grows out of a whirl- wind that, at the base, seems to ripple the waves and continue on to the fluttering garment, an undulating line that will dissolve into amorphousness, but meanwhile… And those eyes wide open on the beyond, on imminent, unavoidable catastrophes. E invece queste maligne vorrebbero la tua perdizione, la tua tragedia A me non le taglierete, vero? Mi comporto be-ne, non faccio sciocchezze, sono rispettoso. E come si fa a non essere rispettosi, con queste figure bellissime?
E quelle Euridici che rientrano nelle tenebre How could you not be respectful, with these beautiful figures? Look at this enchanting mouth, the unreadable smile, the same smile she wore when she sank that day with her ship, the Falkland, near the Scilly Isles, the book says. Vorrei pisciare sulla mia tomba, su una tomba bisogna annaffiare i fiori, no? Ma ho letto che qualche volta le polene naufragate ritornano.
Still, I pretended not to notice any- thing, everyone gets by any way they can. We buried one of them — read what it says here — the one from the Rebecca, a whaling ship from New Bedford, among the rocks by the sea. Lewdness too, as is fitting; death is lewd and sorrow is lewd. I even do it, when nobody can see me, there in the park of Saint David. Even a face composed of flesh soon deteriorates, the fish devour it and it quickly becomes unrecognizable, an unrecognizable piece of refuse from the sea. It was I who pushed Maria, on the open sea and under the sea; I threw her to the sharks as food and so I was spared by them.
And so she disappeared in that dark sea, in that obscurity. But I read that sometimes shipwrecked figureheads return. Every day he watched the sea discon- solately, he could not believe she was dead and when the ship re- entered the port he saw the figurehead, standing upright on the prow, identical to her — he leaped into the water to go to her, longing to embrace her, but he went under.
Waterlogged and dazed, water in his nose in his mouth in his ears, it was impossible to see the ship as it passed by, to see whether she was there or not. President, as you can see, I am still here. He too was all ex- cited, he never thought he would be granted permission to enter the Home, when he requested it, so he could come and get me.
When my health unexpectedly deteriorated, he forced me to enter the Rest Home to recover — an attractive, comfortable, well equipped place, no doubt about it — and he bawled and ranted and let himself go completely, needing a shave and not even changing his under- wear. He bored every friend he met with a long story about his mis- fortune and how lonely he was.
Per questo esistono le Case di Riposo. We have to resign our- selves, indeed be content and at peace with our conscience, when we accompany them there and entrust them to that qualified staff. Con te, diceva, vicino a te so chi sono e non sono niente male. Anche la vita — non gli ho chiesto se la sua o la mia — oppure ammutolire, che per me sarebbe peggio che morire.
In short, only when we were together did he feel entirely se- rene, confident, even about what he wrote, after he had read it to me and had seen in my eyes — rather on your mouth, he would say, when my lips, pouting a bit at first, opened slightly… almost a smile, no, not yet, but… I would prune his words, of course — excessive, immoderate and magnanimous as he has always been, he lavished words profusely and I pared them for him, discarding the rind, the core and even a lot of the pulp, when it was necessary. He would not have been capable of it, fervent, unrestrained and compulsive as he was, always a morsel and a glass too much, but he let himself be put on a diet by me and he knew that, if something remained on the plate after I had passed everything through the sieve, it was truly something good.
Here outside we can only see those doors, whose gleaming convex plates reflect splintered images of things that lengthen obliquely or expand and swell — stretching out, inflating, shrinking — if we move backward or forward a little. All we know are those ephemeral travesties, not the truth that is hidden on the other side, behind those bronze mirrors. But I, my love, he would say to me, can no longer celebrate only the mirages of those mirrors, those illusory reflections. My verse must be about reality, the truth, that which holds the world together or dissolves it, no matter what the cost.
Even if the cost is life — I did not ask him whether he meant his or mine — or else fall silent, which for me would be worse than death. At those words, Mr. Forse, ho pensato, era venuto a prendermi soprattutto — soltanto? Me lo vedevo, aggrappato a me, ad attendere le mie parole, i suoi occhi verdi febbrili Pure qui gli oggetti mentono, si dissimulano e trascolorano come meduse. The road impassable, the bridge collapsed, the abyss insurmountable. It seemed to me that I could already hear him asking me about the Home, and about you, Mr. Of course, because he too, Mr. President, is convinced — like everyone, like me before I came here — that once you enter the Home you finally see the truth as it is — no longer veiled, reflected and dis- torted, disguised and made-up as it is seen on the outside, but di- rectly, face to face.
There outside, Mr. President, people yearn to know; even those who pretend they have no interest in knowing would give anything to know. Maybe, I thought, he had come to get me primarily — only? I could just see him, clinging to me, awaiting my words, his green eyes feverish… and how could I tell him that… You see my point, Mr. How could I tell him that here inside, aside from the light that is so much fainter, it is just the same as outside?
That we are behind the mirror, but that the back is also a mirror, no different from the other. Here too objects lie, disguising themselves and changing color like medusas. There are a lot of us, like outside; even more of us, which makes it even more difficult to know one another. Gli sarebbe venuto un colpo, al mio vate. Mi figuravo le sue lamentele, un uomo finito, un poeta cui hanno rubato il tema; avrebbe pensato che quella congiura cosmica era tutta una manovra contro di lui, per metterlo a terra, per condannarlo al silenzio.
For that matter, why should we know more than those on the outside, more than we ourselves knew when we were out there? And as for you, Mr. President, why should we have seen you here? Those ailments and infirmities that sent us to these corridors and to these dark vales, those small calamities of the heart or brain, the venomous bane of a snake or of a gas valve do not help us to better understand this immense laby- rinth of before and after, of never and always, of I and you and… We are on the other side of the mirror, but it is still a mirror, and all we see is a pallid face, without being certain whose it is.
The river flows, blood flows, a dike breaks, the water overflows and floods the fields, the swimmer goes under, takes in water, re-emerges, goes on swim- ming without seeing anything, either in the blinding midday light or the dark of night. Tell him that I, even here inside, know no more than he does? He would have had a shock, that bard of mine. I could just picture his complaints, a man who was done for, a poet whose theme had been stolen from him; he would think that that cosmic conspiracy was all a scheme against him, to break him, to condemn him to si- lence. Ma forse avrei stretto i denti e inghiottito la mia stanchezza e avrei tirato avanti.
Conosco questo stupido pettegolezzo. No, signor Presidente. Sono stata io. Anche da sola, anche senza di lui sarei stata felice di fare una passeggiata da quelle parti. Io, distruggerlo? And when the time came, for him or for me, to return to the Home again, this time for good, what a farce having to repeat goodbyes reduced to conventionalities.
I felt so tired all of a sudden. Still, perhaps I would have gritted my teeth and swallowed my fatigue and I would have carried on. Women can do this, they do it almost all the time, even when they no longer know why or for whom. No, Mr. President, it was not on account of such a pitiful, trite reason that he turned around and lost me.
It is a lie by envious colleagues who want to depict him as a narcissistic egotist to make him lose favor with the public, maybe the same ones who spread those rumors about the pretty boys whom he supposedly consoled himself with in my absence, infuriating all those adoring female admirers of his, jealous enough to scratch his eyes out.
It was me. He wanted to know and I prevented him. God knows it cost me. Ora infatti, a casa, a casa nostra, dorme, tranquil-lo. Still, I would have loved to go out for a little while — just for a little while, we both knew it — into that summer light — at least for one summer, a summer on that small island where he and I… Even by myself, even without him I would have been happy to go walking there. But I would have destroyed him, by going with him and an- swering his inevitable questions. Me, destroy him? You will therefore understand, Mr. President, why, when by then we were almost at the doors, I called to him in a strong, firm voice, the voice from when I was young, on the other side, and he — I knew he would not be able to resist — he turned around, as I felt myself being sucked back, lighter and lighter, a paper doll in the wind, a shadow that lengthens retreats and merges with the other shadows of the evening, and he watched me, turned to stone, but safe and sound, and I vanished happily before his eyes, because I could already see him returning to life tormented but strong, igno- rant of the void, still capable of serenity, perhaps even of happiness.
Now in fact, at home, our home, he is sleeping quietly. He has also taught at Rutgers University. The former president of the New Jersey College English Association and the New Jersey Association for Developmental Education, he has presented at several professional conferences in the US and was a keynote speaker at the University of Natal South Africa conference on lan- guage instruction in He is the author and co-author of six col- lege texts on writing published by McGraw-Hill. Buscemi is the son of Sicilian immigrants from the province of Agrigento.
After studying law at the University of Catania, he began to write plays for a company of amateur actors and showed an intense interest in popular poetry. In , he moved to Florence, then capital of Italy, and began his career as a literary critic by writing for La Nazione. Florence also introduced him to the work of Balzac and of other French novelists. By , Capuana was in Milan writing for Corriere della Sera.
In , he was appointed to the chair of aesthetics and stylistics at the University of Catania. As a literary critic, Capuana established a reputation for objec- tivity and analytical acumen. He is also remembered for having championed theories of romantic naturalism in works such as Studi sulla letteratura contemporanea In addition, his ability to expose the psychology of his characters won him lasting fame as a novelist. Among his best works in this genre are Giacinta , Profumo , Le Paesane , and his masterpiece, Il Marchese di Roccaverdina I am indebted to my good friend Nino Russo for his help in translating a number of particularly difficult idiomatic expressions and for all of his encouragement.
Quando arrivava la stagione delle arance, il Re vi metteva a guardia una sentinella notte e giorno; e tutte le mattine scendeva lui stesso a osservare coi suoi occhi se mai mancasse una foglia. Una mattina va in giardino, e trova la sentinella addormentata.
Related La Lunga Fine dellEstate (Italian Edition)
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