B) "Mentre questa guida darà agli interessati le informazioni che necessitano, gli studenti, per ottenere informazioni aggiornate, complete e ufficiali riguardo i requisiti di ammissione e i corsi, devono scrivere direttamente all'istituzione di loro scelta, almeno un anno prima che intendano iniziare gli studi.

C) Ma vengo riportato, contro la mia volontà, in un'infanzia dove l'autunno significa falò, biglie, fumo; mi affaccio alla mia finestra recintata da evocazioni nell'aria. Quando ho detto autunno, l'autunno si è rotto.

-mentre questo manuale intende fornire agli aspiranti candidati le informazioni di cui hanno bisogno, gli studenti, per ottenere informazioni aggiornate, complete e ufficiali rispetto ai requisiti per l'accesso e al corso, devono scrivere direttamente alle istituzioni di loro scelta, almeno un anno prima loro abbiano intenzione di iniziare i loro studi. 

-Ma contro la mia volontà, vengo trascinato indietro in un'infanzia dove l'autunno è tutto falò, biglie e fumo; mi appoggio alla finestra, recintata (or "circondata") dai ricordi nell'aria. Quando dissi autunno, l'autunno arrivò.

2) Anche se questo manuale fornirà agli aspiranti candidati le informazioni di cui hanno bisogno, gli studenti devono, per ottenere informazioni aggiornate, complete e ufficiali sui loro requisiti di ingresso e sul corso, scrivere direttamente alla segreteria del dipartimento di loro scelta, almeno un anno prima di iniziare i loro studi.

3) Ma vengo trasportato indietro, contro la mia volontà, in un'infanzia dove l'autunno è falò, biglie, fumo; mi appoggio alla mia finestra, protetto/intrappolato dalle evocazioni nell'aria. Quando ho detto autunno, l'autunno si è svanito/sparito.

Mentre questa brochure/volantino darà l'informazione di cui hanno bisogno a chi intende fare domanda, gli studenti devono fare domanda direttamente alle istituzioni da loro scelte, per avere l'informazione completa e aggiornata, almeno un anno prima del periodo in cui desiderano iniziare i loro studi.

Pero’ vengo trasportato/trascinato, contro il mio volere, verso la mia passata infanzia in cui l'autunno e’ definito da falò, bilie e fumo; mi appoggio alla mia finestra, riparato dalle evocazioni presenti nell'aria. Quando dissi autunno, l'autunno si spezzò.

Mentre questo vademecum intende fornire agli studenti che hanno intenzione di iscriversi le informazioni di cui hanno bisogno, gli studenti devono, affinché possano ricevere le informazioni aggiornate, complete ed ufficiali riguardo i loro requisiti d’entrata e del corso, scrivere direttamente ai dipartimenti da loro scelti , almeno un anno prima del loro inizio previsto degli studi.

Ma io sono trascinato, contro la mia volontà, in un’infanzia dove l’autunno significa falò, biglie, fumo; mi affaccio alla mia finestra circondata dai ricordi nell’aria. Quando dissi autunno, l’autunno si interruppe.

b)mentre questo manuale ha l' intenzione di dare agli aspiranti candidati le informazioni necessarie , al fine di ottenere le informazioni aggiornate, complete e ufficiali riguardo ai requisiti di accesso e del corso, questi scrivano direttamente alle istituzioni della loro scelta effettuata almeno con un anno di preavviso rispetto al momento in cui esprimono l' intenzione di iniziare gli studi.

2) Sebbene questo manuale intende fornire agli studenti le informazioni necessarie, gli studenti per ottenere informazioni aggiornate, complete e ufficiali sui loro requisiti di ammissione al corso, devono scrivere direttamente alle istituzioni da loro scelte, almeno un anno prima di quando prevedono di cominciare le lezioni.

(Lucrezia Baronio Chiara Gerardini)

2) semamtic fields: buildings (college, residents, lobby, apartments); work;

Lexical cohesion:

lexical chain : "book, Das Kapital, reading"

nominal substitution (e.g. "who" for "people")

GRAMMATICAL COHESION:

reference: cataphoric ("he" -> Mokhtar; "book" -> Das Kapital) => the effect of this is to foster curiosity in the readers and to add some suspense.

ellipsis : "he was not in college, (he) HAD no..."

3 + 4) Thematic Progression : Simple linear progression. The impact this has on the reader is to make the text cohesive and overall coherent. Furthermore, it entertains readers.

Aspects of cohesion: relatives and clauses

Pattern of thematic cohesion: presence of canstant continuous progression, use of cataphoric references (he)

Impact on the reader: presence of fragmented sentences that express the boredom that the speaker is speaking

Challenges in translation: subject is not identified and the context is not clear

Proceding with the analysis, there are two types of cohesion: lexical and rhetorical.

Regarding the lexical field, we can identify the sematic field of building (college, lobby, apartments); furthermore, concerning the rhetorical cohesion, the text presents parallelisms, such as "who kept the residents fed and massaged, the people who walked the tiny dogs, who cleaned the apartments and installed new chandeliers". Then, there is an example of cohesion progression: "he", which refers to the main theme ("Mokhtar", the protagonist). Finally, regarding the feeling that the text transmits to the reader is a sense of linearity and success of the text that actually can never be complete because the context is missing.

Three aspects that are particularly important in the text as cohesive devices are: relative clauses as in “who kept the residents fed and massaged, the people who walked the tiny dogs, who cleaned the apartments and installed new chandeliers”; ellipsis: he was not in college, (he) had no clear path to college now; cataphoric references: “he” referred to Mokhtar, “a book” referred to “Das Kapital”.

These devices make the text fluid, not difficult to read, which means that the reader can understand the extract easily without having to think much about the grammatical structure, but the translation could result difficult, because of the lack of context, it would be easier to translate the whole text.

Analysing grammatical cohesion, we noticed an example of cataphoric reference. For example "he" referring to Mokhtar, the name that follows. However, if we consider the text as a whole, the reference is anaphoric, as probably the name Mokhtar is already mentioned. Another example is "book", related to Das Kapital. The effect of this is to foster curiosity in the readers and to add some suspense. Moving on to ellipsis, an example is "he was not in college, (he) HAD no...". This kind of reference makes us willing to continue reading until the end in order to discover information about the “he” mentioned at the beginning of the text. 

The pattern of thematic progression is a constant continuous theme: he, he, Mokhtar. Furthermore there are instances of parallelism. “the people who walked the tiny dogs, who cleaned the apartments, and installed new chandeliers”

The impact all these devices have on the reader is to make the text cohesive and overall coherent. Furthermore, it entertains readers.

The progression with derived themes, makes the text hard to follow without knowing the whole context. We need to read the extract until the end to find the hypertheme and understand who “he” refers to.  

Three linguistic elements that are to be considered are parallelism, such as the repetition of the past tense, which provides cohesion to the text. But also the references are included: if we consider the text as a whole, the pronoun “he” is cataphoric, whereas if we consider it as an extract it is anaphoric. Regarding the thematic progression, we can notice the presence of the constant continuous progression, as we can see from the repetition of the pronoun “he” in the first sentence, whereas in the middle of the text simple linear progression is to be found, such as “the people who”. We also found some examples of semantic field in the following words: doors, lobby, apartments, Lobby Ambassador and chandeliers which belong to “house”.

The effect that these linguistic choices have on the reader is ambiguity, because we need to know the context to understand (and consequently translate) words like “Infinity tower B” and “Lobby ambassador”. Furthermore, the repetition of the pronoun “he” contributes to create suspense, as we only discover at the end of the text which name it‘s associated to.

Kate sbatte velocemente le palpebre qualche volta. Le appare una visione del cassetto di fianco al suo letto. In fondo ci sono due mucchi di buste, legati saldamente con degli elastici, come creature che potrebbero mordere o azzannare. Cinquantasei lettere bianche. Non sa perchè, ma non l’ha ancora detto a nessuno. All’inizio era perchè non voleva preoccuparsi per nulla. Ma queste continuavano ad arrivare, una volta ogni altro giorno. Ora le lettere hanno l’aspetto di un cancro che ha aspettato troppo per essere curato.

ANALYSIS

The extract is probably taken from a novel, as we can notice from the third person narrative which enables the reader to enter the character’s thoughts and worries.

As it regards lexical cohesion, we can find an example of repetition with the word letter. There is an instance of lexical chain as well: the lexical field of letters (envelopes, rubber bands, letter(s)). Finally, an example of antonymy connects the beginning to the end of the extract: quickly and too long.

Moving on to grammatical cohesion, the text represents several instances of reference: her and she which are anaphoric pronouns the author uses to refer to Kate; as well as them and they which are instances of anaphoric reference for the letters. However, the noun letters is repeated also at the end of the extract so one could say it is an example of cataphoric reference, too. A type of ellipsis can be seen in the clause tightly bound with rubber bands, where, since it is an aside, the subject two wads of envelopes is omitted.

The use of both the present, to narrate the story, and the past, which is used only in one sentence, to refer to something that has happened previously, provide further cohesion to the text presented.

The sentences are rather short and this, in my opinion, gives the reader the will to proceed with the reading and to know what happens next.

Regarding hematic progression, I would say it is a constant continuous theme progression (as it is typical of simple narrative), where there are two main themes which are alternatively taken up in the extract: Kate (referred to with the pronoun she) and the letters (referred to with the pronoun they)

This text may be difficult to translate as the whole context of the novel is missing.

In the first place, in this analysis there will be a focus on the three different types of cohesion giving an example for each situation, moreover, there will be an explanation on the genre of the text and what kind of emotion it could give to the reader. 

To begin, this text is clearly an extract from a novel and the style used is the prose. 

Continuing with the analysis, concerning the types of cohesion in this extract there is a situation of grammatical, rhetorical and lexical cohesion.

Firstly, taking in consideration the lexical cohesion there is an example of a lexical field about the act of seeing (blinks, vision, appears). 

Then, as shown by the text, the words “she”, “her”, refers to the main protagonist, Kate, and this is an example of cohesion progression that takes place in the rhetorical cohesion. 

Furthermore, exemplified by the sentence “tightly bound with rubber bands, like creatures might snap or bite” there is the phenomenon of ellipsis which takes back to “wands of envelope”; here we are in the field of grammatical cohesion. Additionally, an anaphoric exophoric reference is present in the extract with the word “Kate” at the beginning of the text, if it is taken in consideration the whole novel in general

Finally, this text, even though this is just an extract and a successful one, gives to the reader a sense of anxiety, stress and frustration which are the emotions felt by the main character; however, the sensations of the reader can not be satisfied completely because of the missing part of the text.

TRANSLATION

Kate, velocemente sbatte gli occhi qualche volta. Le appare una visione di se stessa vicino al cassetto. Nel retro ci sono due mazzette di buste, strettamente legate con degli elastici, come fossero creature che potrebbero scattare o mordere. Cinquantasei lettere vuote. Lei ancora non sa perché non lo abbia accennato a nessuno. Inizialmente perché non voleva preoccuparsi per niente. Ma hanno continuato ad arrivare, ogni altro giorno. Ora le lettere sono come un cancro per il quale ha aspettato troppo per fare qualcosa.

Mokhtar portava sempre con sé un libro - stava provando a leggere ancora una volta Das Kapital - però leggere era quasi impossibile per un ambasciatore lobbista.  

to walk the tiny dogs: portare a spasso i cani. It is an example of amplification

-who kept the RESIDENTS fed and massaged: chi nutriva e massaggiava i RESIDENTI, example of REORDERING.

-mokhtar always brought a book: mokhtar portava sempre CON SE un libro, example of AMPLIFICATION

-CLOSE TO: QUASI: example of reduction.

-NOW: IN QUESTO MOMENTO, example of DIFFUSION.

a vision ... appears = le appare una visione reordering

rubber bands = elastici amplification

She looks very fluffy - attributive process

She’s laughing wickedly - behavioural process

I noticed the grafitti - behavioural 

The grafitti looks old - relational attributive 

-tiago was thinking about her beautiful owner Giulia (mental process)

-tiago decided to lay on the grass (material process)

He's purring in contentment = material process

He looks like a demon = attributive process

Is gazed looking at the beautiful picture

I think that the photographer is very happy to see that wonderful wiew