Love is a flower that blooms so tender Each kiss a dew drop of sweet surrender, Love is a moment of life enchanting, Let's take that moment, that tonight is granting, There's no tomorrow when love is new, Now is forever when love is true, So kiss me and hold me tight, There's no tomorrow, there's just tonight .
It gives way to a more universal theme, Love, which Love becomes the absolute protagonist of the song. Its warmth and unmistakably Mediterranean flavour are easily seen as the perfect match for a successful message of fervent and sensuous seduction. The shift from opera orchestras to variety show bands needs important musical reconceptualization, but voice still plays the main role. In both cases, however, what remains pivotal is the successful match of passionate melody and warm voice.
On the one hand, he is adding a strong exotic Mediterranean flavour to his performance, thoroughly befitting a passionate seduction song, while, on the other hand, he is sending a strong signal to Italian communities in America. Both musically and textually the Neapolitan song is drastically changed through a translational approach, which minimizes its foreignness to the point of overshadowing it. A 20 th -century concept, which rarely appeared in earlier song but did appear with some frequency from the thirties on, was the possibility of impermanent love.
Tawa It favours love as a theme, although romantic sentimentality gives way to seduction and passion, with a subtle trace of urban cynicism. It's now or never, come hold me tight Kiss me my darling, be mine tonight Tomorrow will be too late, it's now or never, my love won't wait. It's now or never, come hold me tight Kiss me my darling, be mine tonight Tomorrow will be too late, it's now or never, my love won't wait .
It is immediately a roaring success.
According to the Wikipedia list of best-selling singles, it is the eighth best-selling single of all time, while other sources exalt it as the best-selling single ever. Arguably the best selling single of all time, it shifted 30 million copies worldwide Julie Burns It consists basically of a bar chorus and verse, both based on a familiar tune, and there is nothing unusual or striking about the melodic or harmonic structure of this song. As Saffle states, what is really unusual is the way Elvis sings this song, his strikingly handsome and heart-felt performance Saffle Elvis Presley was a stunning performer, and although he did not compose any of his music, the ways in which he performed the songs made them always sound new and unique.
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However, since his powerful stage presence had started to defy the values of more conservative audiences, who began to be suspicious of his glamorous bad-boy appeal and his culturally challenging music, in this song he deliberately adopted a more passionate and less defiant performing style Saffle 2. However, market conventions also include the need to stress the Italian flavour as an essential element in a love song of seduction. The use of a mandolin in the orchestra accompaniment, an instrument traditionally associated with Italian folk music, is clearly meant to provide local colour, too.
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They are perfectly in line with the conventional image of Italy as the country of melody and sensual romance needed for the American market. What is theoretically innovative, and politically crucial, is the need to think beyond narratives of originary and initial subjectivities and to focus on those moments or processes that are produced in the articulation of cultural differences.
Bhabha 2. What is important is that the song lives on, modified and modifying at the same time.
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It travels well beyond Italian migrant communities and reaches once unimaginable audiences, who unavoidably receive it according to their specific historical and cultural backgrounds. The lyrics are in English, but with important Italo-American invasions. First of all, paisans in the second line. As the Urban Dictionary online explains, paisan is a word used with Italians or Italian Americans when they are informally, but in a friendly manner, addressing one another.
It is the imperative first person plural form from the Neapolitan language, but it is misspelled. It should be written, and pronounced, with double mm , facimmela, but the phonemic distinction between m and mm is often missed by English speakers. Moreover, as in the preceding example, a rule of English grammar is easily applied to a foreign word. At any rate, the reference could hardly be more evident in a music video of the song accessible in SonicHits webpage . At the same time, its distance from the source song is equally stressed.
New layers have been added.
Domus Italia_Jun 2017
Such an articulate story of domestication, negotiation and difference is at this point intrinsically part of the substratum of the song and necessarily takes part in its ongoing migration. Many years later, the process of creative hybridization remains as strong as ever, opening unexpected and innovative sites of negotiation and collaboration.
Strictly speaking, Pino Daniele is no emigrant and is always aware of his deep personal links with his hometown, Naples. Yet his whole artistic quest is in a certain sense a never-ending migration, until his premature death in January Since his first album in , Pino Daniele has been a transnational artist, endlessly experimenting and exploring differences in music genres and rhythms, while always preserving its Neapolitan roots, or rather its South Mediterranean nature.
His privileged attention is to American music, music of Afro-American origins, rock, jazz, funky and above all blues. Even its lyrics are not translated. The admixture is easily perceivable in a music video . Pino Daniele is sitting and playing a guitar, accompanied by an assorted group of classic and ethnic instruments and musicians. The economic use of instruments and a sober stage design create a deliberately less glamorous atmosphere.
He thus offers a unique song, which is both homage to Elvis Presley and American blues as well as a powerful response and expression of resistance to Anglo-American mainstream music from this side of the Ocean. If code switching in a song is already a meaningful organizational and aesthetic device meant to achieve both localization and globalization Davies , in this song there is much more, from text and linguistic switching to cultural hybridization and artful music contamination.
The concept of transcultural intimacy , a collective intimacy beyond and across nations a main notion in Susam-Saraeva , opens new perspectives in this research. Among them, Mario Bellavista, a jazz pianist from Palermo, should be noted. Bellavista, who is a lawyer by profession, has recently recorded an album entitled O sole mio , which is also one of its eight tracks.
In a video interview accessible online, Bellavista points out that the three American artists warmly welcomed his proposal and even actively contributed to the arrangements . Bellavista moves around New York by car but he does not do the driving. So he can better observe and enjoy.
Domus Italia_Jun 2017
Although he is often in the video, it is mostly his privileged perspective that guides the camera, which contributes to making these images so personal and incisive. New York was the port of arrival in the USA for so many Italian migrants and as such it certainly has an important symbolic value in the video. However, this jazz version looks back and forwards at the same time.
Along the journey the song has taken on many more layers, opening to Afro-American rhythms and developing transcultural dimensions. What we think to be very far, is very close to us, or even inside us at times. Thanks to Harvie, Jerry and Eric, who have helped me feel more Italian. It is an important admission of transcultural intimacy and an implicit acknowlegment of the creative value of translational hybridization. After all, it is its captivating passionate melody that has mostly driven the translational journey of the song, favouring the multifaceted encounters that mark out its exceptional progress.
This opens broader contexts for research in popular song translation, while calling for more challenge-based approaches. To start with, flexibility is paramount. This leads to a view of the journey as an ongoing process of translational development. Studying this progress as a translational continuum, rather than as a series of detached episodes of transformation, the article highlights the transcultural value gradually acquired by this popular song. The adage that music is a migrant art par excellence is fully confirmed, in all its implications, starting from its hybridizing potentialities and openness to the provocative and inspirational acts of cultural translation we have studied here.
As we have seen, the so-called Neapolitan songs have vague origins and Naples itself has always given signs of being an open-air workshop on resistance and cultural hybridization Pesc and Stazio Researchers in popular song translation should be aware that monolithic notions such as authenticity and cultural specificity as well as musical genre do not easily engage with their research, as this exemplary story of popular song migration amply confirms.
Music and Cultural Translation Studies can be precious allies. Stronger contributions and greater contaminations from both study areas can be a way to go beyond traditional research-field boundaries, providing terrain for perspectives and innovative studies. However, we should be aware that high-level expertise and integrated competences in both Music and Cultural Translation Studies are highly desirable, but hard to find. Pioneering collaboration among scholars from the two different fields is therefore to be hoped for as one possible solution.
Therefore, the concluding remark of the present article would like to be a deliberate open call for joint efforts in that direction. Bigenho, Michelle Intimate Distance. Booth-Clibborn, William E.
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Minors ed , London, Bloomsbury. Davies, Earlys E. Brodbeck and J. Minors ed. Kapelj, Sara Testi in movimento. Teorie della migrazione nel panorama musicale alternativo italiano contemporaneo , Roma, Il Filo. Miller, J.
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- About the author(s);
Minors, Helen Julia ed. Pesce, Anita and Marialuisa Stazio La canzone napoletana. Volume IV. Music and Identity , Simon Frith ed. First published in , London and New York, Routledge. Harrison, Charles W. Main field of interest: translation criticism with special focus on intersemiotic translation cinema and literature, painting and literature and poetry translation. Other fields of interest: English and Italian literatures.
Traduzioni, "refundiciones", parodie e plagi Roma , o del XXIV convegno, svoltosi a Padova nel maggio del , Metalinguaggi e metatesti. Samanta Trivellini earned a PhD in at the University of Parma, with a dissertation on the reception of a story told by Ovid in his Metamorphoses from Chaucer to the early twenty-first century. Her research interests currently focus on W.
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