It is suggested that the patriarchal nature of both the Italian and English languages explains why the use of sexist imagery is tolerated (or perhaps even encouraged) in literary texts.
The findings of the analysis are then brought to bear on one important question: should the translation scholar aim to bring about “politically correct” changes in translation practice, that is, changes attenuating the offensiveness of the original language?
Read as a parody of these earlier Protestant pretexts, Lewis's text engages Francis Bacon's reference to the early seventeenth century Puritan reformers of the Church of Rome, as practitioners of the "superstition in avoiding superstition".
 And it is precisely this form of "superstition" that informs Coleridge's "awfully true religion" and his fear of Lewis' contamination of Protestantism by Catholicism.
Violetta spune povestea unei adolescente talentate cu acest nume, care pleacă din Spania în orașul ei natal, Buenos Aires, pentru a găsi iubirea și pentru a explora pasiunea ei pentru muzică.
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On suggère que la nature patriarcale de l’anglais et de l’italien explique que l’utilisation d’une imagerie sexiste soit tolérée (voire encouragée) dans les textes littéraires.
Ces découvertes nous amènent à nous poser une question importante : le traducteur doit-il, dans sa pratique, chercher à rendre le texte « politiquement correct » en atténuant le caractère offensant de la langue d’origine?
's opening invocation of the city of Madrid under the sign of "superstition"  engages the potent indigenous tradition of British anti-Catholic genres developed from the sixteenth and seventeenth centuries.
Impressing the Spanish Inquisition upon the eighteenth-century anti-Catholic popular imagination, Lewis's ".