Ricky Simone e Priscilla si sono imposti di rivedersi durante il periodo natalizio per ritrovare il calore della famiglia. Percio ci imbattiamo in tre storie diverse, tre vite parallele ma ognuna con i suoi ostacoli e i suoi bivi. Ricky, il maggiore dei fratelli e sua moglie Serena, dovranno decidere che direzione imprimere al loro zoppicante matrimonio e ognuno dei due dovra prima perdonare se stesso per i propri decisivi errori. Simone dovra raffrontarsi con uno stile di vita al di sopra delle sue possibilita e Priscilla, delusa dalla vita e da un uomo, dovra imparare di nuovo a fidarsi. A ognuno dei tre fratelli sara dato di assistere a un nuovo spettacolare giorno, a un altro promettente inizio. Un romanzo intrigante, appassionante come i protagonisti, con le loro debolezze e vulnerabilita ma dotati anche della forza necessaria per rimettersi in piedi, purche ci sia al proprio fianco colui cui aggrapparsi, chi non si e mai smesso di amare. eBook su www.amazon.it sezione kindle store

In this book Umberto Eco argues that translation is not about comparing two languages, but about the interpretation of a text in two different languages, thus involving a shift between cultures. An author whose works have appeared in many languages, Eco is also the translator of Gérard de Nerval's Sylvie and Raymond Queneau's Exercices de style from French into Italian. In Experiences in Translation he draws on his substantial practical experience to identify and discuss some central problems of translation. As he convincingly demonstrates, a translation can express an evident deep sense of a text even when violating both lexical and referential faithfulness. Depicting translation as a semiotic task, he uses a wide range of source materials as illustration: the translations of his own and other novels, translations of the dialogue of American films into Italian, and various versions of the Bible. In the second part of his study he deals with translation theories proposed by Jakobson, Steiner, Peirce, and others. Overall, Eco identifies the different types of interpretive acts that count as translation. An enticing new typology emerges, based on his insistence on a common-sense approach and the necessity of taking a critical stance.

On 1 August 1935, only a few months before Mussolini launched the colonial enterprise in Ethiopia, Shakespeare’s Julius Caesar was produced at the Maxentius Basilica in Rome. The performance was organised by The National Workers’ Recreational Club (O.N.D.) and the script was submitted for censorship. However, the procedure followed a different course from the usual one as the commissioner was also part of the Fascist political system. This parallel edition presents for the first time the integral script of the censored text of Shakespeare’s Julius Caesar, in Raffaello Piccoli's 1925 Italian translation, and explores the implications of this peculiar type of censorship at the moment when, through Shakespeare, censoring became one and the same with political propaganda.