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While the popularity achieved by several Italian cultural objects in the United States during the aftermath of World War Two has been largely acknowledged, the meanings these artefacts took on in their new cultural context are yet to be understood. To unravel the complex, multi-layered processes of cultural translation at play in transatlantic transfers at the onset of the Cold War, this article explores the U.S.-American reception of Italian culture from the vantage point of translated fiction. Retracing the public discourse around new Italian books in the United States means to recognize the emergence of a new framing narrative, that of a novel Renaissance taking place in Italy after the end of the Fascist period. Understanding the concept of a new Renaissance from a transnational perspective, at a time in which the public discourse was being reorganized across all media in response to the new geopolitical order, allows us to identify the politics of newly translated Italian fiction in the U.S. I argue that, through its framing, Italian fiction was made an ally in the cultural Cold War, coming to represent Western democracy, freedom, and creativity. [ABSTRACT FROM AUTHOR]

Ricezione

La traduzione cesarottiana delle Poesie di Ossian risaputamente introduce in Italia alcuni stilemi, immagini e movenze linguistiche che saranno poi il seme della nuova sensibilità romantica. Nel 1825 Giovanni Torti, poeta di formazione pariniana “convertitosi” poi al Romanticismo, pubblica la traduzione di uno dei meno noti poemi epici dell’Ossian: Oinamora. Il testo base della traduzione non sarà però quello inglese di Macpherson, come per Cesarotti, bensì una più tarda traduzione latina di area inglese (1807), pubblicata con il testo a fronte di quello che vorrebbe essere l’originale celtico. L’articolo intende confrontare le due traduzioni (Cesarotti 1772 - Torti 1825) per metterne in luce le differenti scelte metriche, stilistiche e linguistiche, e per ragionare sui diversi modelli epici di riferimento; nel tentativo di restituire un’istantanea dello sviluppo del nuovo gusto poetico italiano, osservato a sessant’anni di distanza da quel fenomeno letterario unico che fu la pubblicazione delle Poesie di Ossian tradotte dall’abate Melchiorre Cesarotti.

Sulla scorta dello studio mirato delle varianti genetiche dagli abbozzi di versione poetica consegnati all’autografo della lezione pavese sul libro X dell’Iliade, si ricostruisce l’orizzonte “pragmatico” della ricezione omerica di Vincenzo Monti nei primi anni dell’Ottocento sia rispetto agli antecedenti di Samuel Clarke e di Melchiorre Cesarotti sia rispetto alle istanze “neoclassiche” parallele e complementari di Ugo Foscolo, con nuove acquisizioni e spunti di riflessione per la cronologia aggiornata dell’intero volgarizzamento in vista della princeps (Brescia, dai torchi di Nicolò Bettoni) del 1810-1811.

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Italie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Italian Studies / Rivista di Studi Italiani is the property of Rivista di Studi Italiani and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recensione di Daria Biagi, Prosaici e moderni. Teoria, traduzione e pratica del romanzo nell’Italia del primo Novecento. Quodlibet, 2022.

ABSTRACT: Maryse Condé is a famous writer from the Antilles who has been praised by academic critics for her novels, short stories, plays, and essays. Eliana Vicari is the Italian translator of her texts. The novel Traversata della Mangrovia is one of the most interesting translations, especially for the importance given to the paratextual apparatus. The paratext plays an important role in postcolonial texts, as it helps to understand the cultural and linguistic challenges present in the original text and the attempts to transpose them into the translated text. Translation is not only about the linguistic aspect but also requires reflection that embraces all aspects of the translation act. The paratext is therefore a valuable support tool that helps the translator and the reader have a clear view of the reality represented in the text. RIASSUNTO: Maryse Condé è una famosa scrittrice antillese, che è stata elogiata dalla critica accademica per i suoi romanzi, racconti, opere teatrali e saggi. Eliana Vicari è la traduttrice italiana dei suoi testi. Il romanzo La Traversata della mangrovia è una delle traduzioni più interessanti soprattutto per l’importanza riservata all'apparato paratestuale. Il paratesto ha un ruolo importante nei testi postcoloniali, in quanto aiuta a comprendere le sfide culturali e linguistiche presenti nel testo originale e i tentativi di trasporle nel testo tradotto. La traduzione non riguarda solo l'aspetto linguistico, ma richiede una riflessione che abbracci tutti gli aspetti dell’atto traduttivo. Il paratesto è dunque un valido strumento di supporto che aiuta il traduttore e il lettore ad avere una chiara visione della realtà rappresentata nel testo.

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Italian Studies / Rivista di Studi Italiani is the property of Rivista di Studi Italiani and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Philologist / Filolog: Journal of Language, Literary & Cultural Studies is the property of University of Banja Luka, Faculty of Philology / Univerzitet u Banjoj Luci, Filoloski Fakultet and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Con-textos Kantianos: International Journal of Philosophy is the property of Con-Textos Kantianos (CTK) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L’articolo toccherà argomenti relativi alla pluralità di denominazioni di malattie in lingua italiana, polacca e inglese. Facendo riferimento alla loro etimologia latina nonché al corpus terminologico plurilingue tratto dalla Classificazione ICD-10 dell’Organizzazione Mondiale della Sanità, gli autori metteranno in evidenza i problemi traduttivi di diverse categorie di entità nosologiche analizzando i loro nomi dal punto di vista sociolinguistico, tra i quali i termini eponimici, derivati dotti e popolari, forme greche, latine e latineggianti. In tale contesto si discuteranno le differenze tra i diversi livelli di discorso nella comunicazione medica e della frequenza d’uso di alcune forme varianti di malattie in italiano e in polacco nei rispettivi corpora di riferimento (con alcuni cenni al caso della lingua inglese). Da ultimo, gli autori menzioneranno esempi di forme difettose nella traduzione di malattie tra l’italiano, il polacco e l’inglese.

Varro of Atax’s fragment 17 Blänsdorf is ascribed to the Chorographia by most modern editors. Through the exam of some characteristic features of Varro of Atax’s translation practice, it is proposed to frame the fragment within the author’s translational production. This enables to reassess Ruhnken’s ancient proposal of assignation to the Argonautae and, consequently, the comparison of the fragment with Apoll. Rh. 4.1561.

This paper deals with the relationship between translation and sociolinguistic markedness, examining the case of Sicilian discourse markers in the English subtitling of Young Montalbano, a recent production in the Montalbano cycle. The analysis focuses on a set of markers that are crucial in constructing the text’s dialectal connotation (amunì, talè, nonzi, chi sacciu and ah?). In order to render such connotation, a twofold translation method is put forth consisting of functional translation and differential marking. The study therefore proposes a reflection on the role of discourse markers in the sociolinguistic characterisation of a semiotically complex product such as Montalbano.

The present article addresses how the Middle East was portrayed in two Slovenian translations of Karl May's Orientzyklus. This series of novels was translated during the interwar period, when the Slovenian ethnic territory was part of the Kingdom of Yugoslavia, and the re-translations were published during Slovenia's socialist era. By means of a textual comparison, the extent of the ideological interventions that occurred in the portrayal of the Middle East in the translations is established. Furthermore, the article discusses how the different contemporary socio-political circumstances in Slovenia may have influenced how the region in question was represented. [ABSTRACT FROM AUTHOR]

Copyright of Kwartalnik Neofilologiczny is the property of Polish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kwartalnik Neofilologiczny is the property of Polish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kwartalnik Neofilologiczny is the property of Polish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kwartalnik Neofilologiczny is the property of Polish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As psychoanalysts of the family group with babies, we have the opportunity to work on the relationship between the parents and the child, when everything is formed: the child's self, the parental identity, the relationship. The work of observation, imagination, play, storytelling can transform anxieties into tolerable emotions and make resources and healthy virtualities accessible. Where there was confusion, emptiness and fog, reference points, metaphors, narratives can take shape in the sessions. In working with children in the first year of life - when communication takes place predominantly through the body, sensory skills, motor skills - we can intervene at the origins, in moments of disconnection, when the trauma prevents parents from reading the children's communicative signals and leads children to loss of interest and relationship avoidance. Therapy can lead children to express strong communicative cues and learn about emotions, and it can interest parents in contacting themselves and discovering the children's internal world. It can offer moments of reparation, unison, thought, which increase hope and a sense of security. [ABSTRACT FROM AUTHOR]

Copyright of Italica is the property of University of Illinois Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on Russian children’s literature in Italy in the last 30 years. The first part provides a brief historical overview of Russian children’s literature in Italy starting from the 20th century. The aim is to identify the best-known authors and the first research dedicated to them in the field of Slavistics and pedagogy. The second part focuses on the presence of Russian children’s literature in Italy since the 1990s. The article accounts for both the critical studies on Russian children’s literature and the corpus of texts that have arrived in Italy in the form of translation, adaptation, or rewriting. Some constants are identified, but also important novelties are underlined: the short-lived fortune of certain genres, such as science fiction, and the appearance on the market of authors who are in between adult and children’s literature.

Lo studio qui presentato nasce in seguito alla riflessione sul testo del romanzo di Joaquim Maria Machado de Assis (1839-1908) Esaú e Jacó (1904), in occasione del lavoro di traduzione da me realizzato per i tipi della Lorenzo de’ Medici Press e pubblicato nel 2022, con il titolo di Esaù e Giacobbe. Da una iniziale visione sinottica della lingua nella produzione letteraria di Machado, condotta alla luce di studi critici e delle dichiarazioni dello stesso autore sul valore politico-sociale della lingua stessa, e dopo uno sguardo sulle traduzioni dell’opera di Machado ad oggi edite in Italia, si scenderà nel particolare di Esaú e Jacó, analizzandone alcuni passaggi rappresentativi del profilo linguistico dell’autore; infine, si esamineranno alcune scelte traduttive da me intraprese. L’obiettivo è mostrare che il processo che ha portato al metatesto, che è la prima edizione italiana di quest’opera, si è svolto con una particolare attenzione al valore cruciale che la lingua assume in questo romanzo, in cui Machado riflette sul Brasile di fine Ottocento, sull’alta società della sua allora capitale, Rio de Janeiro, la sua cultura, la sua storia, la sua identità post-indipendenza.

Recensione di Cecilia Schwartz, La letteratura italiana in Svezia. Autori, editori, lettori (1870-2020) (Carocci, 2021)

Copyright of Prassi Ecdotiche della Modernità Letteraria is the property of Prassi Ecdotiche della Modernita Letteraria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Italie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Questo articolo si inserisce nell’ambito degli studi sulla ricezione classica nella letteratura italiana, con una particolare attenzione verso la poesia e la traduzione. L’obiettivo è duplice: da una parte, offrire un quadro sinottico originale della presenza della latinitas nella poesia italiana contemporanea; dall’altra, effettuare un’analisi critica di uno dei casi di studio più rilevanti al riguardo: Sotto la scure silenziosa. Frammenti dal «De rerum natura» (2005) di Milo De Angelis.

L'articolo si propone di evidenziare come lo studio delle pratiche ecdotiche nella storia della scienza del linguaggio riveli percorsi evolutivi nella storia della linguistica e del pensiero linguistico. Alcuni casi emblematici nella linguistica del XIX secolo dimostrano non solo che il confronto di edizioni successive di testi fondamentali è rivelatore di estensioni dei domini linguistici riferibili a ulteriori analisi dei dati, ma anche che l'evoluzione della riflessione sui principi generali può caratterizzare una nuova edizione. Viene inoltre preso in considerazione il valore storiografico e interpretativo delle traduzioni.

Questo contributo offre una discussione sull’analisi della terminologia catalografica italiana a cavallo tra XX e XXI secolo. Dopo un inquadramento generale della questione, viene affrontato il tema della carenza di un glossario biblioteconomico italiano attraverso i famosi interventi di Diego Maltese, Luigi Crocetti, Giorgio Pasquali e Alberto Petrucciani. Nel nuovo ecosistema bibliografico in continua evoluzione, la gestione del plurilinguismo rappresenta una delle sfide più problematiche poiché la normalizzazione terminologica di strumenti catalografici costituisce il presupposto imprescindibile della condivisione e della globalizzazione tout court. Sono stati presi in esame alcuni casi di studio come Imprint, Editor e Other title information e la loro evoluzione terminologica è stata affrontata in prospettiva diacronica e sincronica. Una parte fondamentale del contributo è costituita dall’analisi dei celebri articoli di Luigi Crocetti e Diego Maltese in merito all'edizione italiana di ISBD(G), curata da Rossella Dini nel 1987. L’attenzione riservata ad alcune soluzioni traduttive rispetto al testo originario inglese sottolinea come una traduzione debba essere rigorosa ma allo stesso tempo capace di rendere l’alterità, in una dimensione interculturale di incontro tra tradizioni catalografiche diverse.

Viene proposta l’analisi di un caso specifico di contatto con Shakespeare, avvenuto all’interno della produzione teatrale carceraria. Un’isola. Dalla mia finestra si vedono le montagne (2018) è un’opera teatrale che si rapporta a The Tempest sulla base della riscrittura drammaturgica elaborata dalla regista Alessia Gennari, in collaborazione con un cast multinazionale, composto da alcuni detenuti del carcere di Vigevano (PV). Nel copione, si evidenzia un utilizzo frammentario e selezionato della versione italiana del testo shakespeariano. A questo si accompagnano brevi sezioni composte direttamente dai detenuti ed elementi linguistici e culturali di provenienza variegata. In un’istituzione totale, all’interno della quale il ruolo dei detenuti è appiattito su quello convenzionale del criminale, l’attività creativa in ambito teatrale permette di sviluppare forme di resilienza nella costruzione di identità stratificate, nonché di scoprire una condizione come la vulnerabilità, propria e altrui, in apparenza molto lontana da quella della colpevolezza. In questa dimensione, Shakespeare diventa il filtro attraverso cui liberare la propria voce, nello stesso momento in cui il testo di The Tempest, nelle parole di Gennari, assume la funzione di ‘pre-testo’, a servizio del carcere e dei detenuti. Tra autorità shakespeariana e agency dei soggetti marginalizzati si stabilisce dunque un rapporto articolato, sulle cui declinazioni nella pratica drammaturgica e performativa è qui puntata l’attenzione.

The article sheds light on some topical reflections on the translation process as presented by Gian Rinaldo Carli in the treatise Intorno la difficoltà di ben tradurre (1743). In his exposition, the Capodistrian scholar focuses mainly on the genius or spirit of languages (il genio delle lingue) and instead of universal rules, which in his opinion do not contribute to the success of translation, suggests choosing an approach allowing more or less freedom or fidelity to the source text, depending on the purpose of translation. The analysis of the mentioned aspects and the contextualization of Carli's thoughts, which derive from his own experience in translating Hesiod's Theogony, show that he can also be considered an expert of the translation guidelines and discussions of his time. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Political Philosophy / Las Torres de Lucca is the property of Revista Las Torres de Lucca. Facultad de Filosofia, Ciudad Universitaria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This interview took place thanks to the Milan International Architecture Workshop (MIAW) held at the Polytechnic Institute of Milan in February 2021 and dedicated to reflections on Milan’s Porta Romana. The many lessons and conversations with Irarrázaval gave rise to the idea of an interview that could summarize the numerous issues that emerged and whose relevance to the relationship between art and architecture naturally led to it being published in this issue. The interview touches on numerous themes that tend, as often happens in projects, to overlap each other. However, in the flow of this conversation, three principles with a more disruptive force emerge: translation, repetition, and wholeness. Three concepts that in their recurrence in every artistic process help to trace and describe the importance that the arts have had in the construction of the architectural language of Sebastián Irarrázaval.