Regulation of mRNA translation elongation impacts nascent protein synthesis and integrity and plays a critical role in disease establishment. Here, we investigate features linking regulation of codon-dependent translation elongation to protein expression and homeostasis. Using knockdown models of enzymes that catalyze the mcm5s2 wobble uridine tRNA modification (U34-enzymes), we show that gene codon content is necessary but not sufficient to predict protein fate. While translation defects upon perturbation of U34-enzymes are strictly dependent on codon content, the consequences on protein output are determined by other features. Specific hydrophilic motifs cause protein aggregation and degradation upon codon-dependent translation elongation defects. Accordingly, the combination of codon content and the presence of hydrophilic motifs define the proteome whose maintenance relies on U34-tRNA modification. Together, these results uncover the mechanism linking wobble tRNA modification to mRNA translation and aggregation to maintain proteome homeostasis.

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In the first part of this paper, an overview of the commonly adopted approaches to the study of technical vocabularies in Old Italian is provided: in particular, it is confirmed that traditionally, researchers exploit documents such as treatises, translations, and practical texts – mostly composed from the 15th century to the present – to gather new information on the Italian lexicon of art. In the second section, the author argues that it is possible to expand the research beyond these chronological and typological borders, and find occurrences of technical words in literary texts from the 13th and 14th centuries. Since many of these terms are also part of everyday vocabulary, their artistic meaning is hard – but not impossible – to identify. Thus, the examples of terra bianca (‘white soil’) and marmo cotto (‘cooked marble’) are introduced in order to show an alternative method of verifying the presence of semantic technicisms in old literary texts.

El presente trabajo reflexiona sobre las modalidades de traducción métrica de poemas a canciones, y de canciones, inglesas y francesas, asimismo a canciones en italiano. El análisis demuestra que los esquemas métricos y los patrones melódicos permanecen totalmente inalterados cuando el traductor traduce versos cantados, pero no cuando lo traducido son poemas. Además, el estudio demuestra que el idioma del texto original no afecta a las elecciones métricas del traductor. Se ha analizado el corpus lírico de Fabrizio De André.Aim of this article is to investigate the modalities of metrical translation from poems and songs to songs. To this aim I chose a subset of Fabrizio De André’s songs which are translations both from poems and from French and English songs. In particular, I show that the metrical grid and the melodic pattern are fully respected during the transposition from sung verse to sung verse; contrarily, the adaptation of poems into sung verse shows a high level of metrical freedom in the translated texts. While the language of the original text seems to barely influence the metrical grid of De André’s songs, the presence of the original melody is a major constraint in the metrical choices of the translator.

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