Although considered as a science in Eastern Europe, in Italy translation studies are traditionally classified among humanistic disciplines and that is why they are often approached using impressionistic rather than scientific methods. When translation as a process (which cannot be scientific) is confused with translation as an academic discipline (translation studies), it is often said that a scientific approach towards translation is incorrect/impossible/useless. This article attempts at suggesting new possibilities for the uncompromising champions of unscientific and approximate methods of assessment.

This article deals with personal reflections on the experience of translating graphic novels, centred around the idea that graphic narrative does not present the translator with any greater difficulties in text or context interpretation and comprehension than conventional prose. Pictorial narrative is neither more nor less difficult to translate than ant other literary forms; it is simply different. A skilled and competent translator is able to create a reputable translation even without being a comic strip fan or cult follower.

Fifteenth century Central Asia culture is in no way inferior to the beauty of the Italian Renaissance. Practically ignored by Italian culture which does not even possess the terms to describe certain elements of the Timurid architectural masterpieces, Western language must borrow terms from Persian and Arabic to describe many structures, as any translation would be inadequate. In our culture, the Timurids, but more generally Central Asia as a whole, do not enjoy the status they deserve for purely political reasons, as explained by Edward Saïd in his book Orientalism.

With the reunification of the two German states it was possible to observe directly and almost simultaneously the linguistic changes which resulted from the event. The process that had such a strong impact on the German language following the political upheaval of 1989/90 was absolutely unique and produced a transformation which was practically definitive, unilateral and selective. This German-German-Italian glossary of daily life is a collection of terms which, although by no means complete, shows many of the small differences in the language used in the two Germanies: the so-called lexemes which began in GDR and which have often found synonyms in West Germany.

“tradurre” is presenting some hitherto unpublished (or almost) reflections on the work of two great translators from German of the last century. Alberto Spaini was the first to translate Alfred Döblin and Franz Kafka; Ervino Pocar translated hundreds of volumes by famous authors totalling more than 80,000 pages. The three texts (one by Spaini and two by Pocar) provide us with an extremely interesting intellectual account of their method of reasoning. Fascinating to read is the short historical outline in which, in a text written in German and translated into Italian by Silvia Camatta, Pocar executes German to Italian and Italian to German translations of texts from several centuries.

The translation of the ancient classics destined for a wide and naturally well-educated public enjoyed a revival of interest around the end of the 1970s mainly thanks to series like the new BUR collection published by Rizzoli and the ‘Oscar classici latini e greci’ by Mondadori. There is a considerable difference between the great translation movement linked with the Neo-classical period and the present time. Following a rapid glance at the nineteenth century and first half of the last century (as far as the false splendours of Fascism) before approaching the main subject, this article focuses on the ‘modernist’ versions (with examples) of the classics translated by Quasimodo, Pasolini, Sanguineti and Ceronetti.

During a long chat Claudio Groff told us about his life as a translator from German with thirty years and about sixty books to his credit.  He talked about his roots in the Trentino region, his family, his education, the relationship between translation and his teaching work, the long period he spent in Austria, and his passion for Austrian literature and for contemporary authors in general. He gave us a lively description of his meeting with Günther Grass and his other translators and a meaningful encounter with Peter Handke against the backdrop of the Spanish meseta. In a few words he described his work methods and his relationship with pencil and computer; he revealed the serenity with which he is able to approach even the most demanding texts, also thanks to the ineluctable presence of his cat, Gatorosso.

David Foster Wallace, perhaps considered even more of a cult author in Italy than in the USA, has been translated into Italian by a wide range of different translators (about 20 in all). The events surrounding the publication of his works in Italy are complex and involve certain episodes that are hard to explain…  Kept under wraps is an attempt to unravel the knots by giving a voice to some of the people who worked on his books, and by reconstructing the intriguing incidents that occurred in his publishing history.

The various branches of literature in Portuguese developed in contact with one another despite the very different geographical and political contexts, great distances and conflict between countries for various reasons. Moreover, the question of the Portuguese language spelling reform that dates back to 1911 has not yet been resolved. As well as the normal diatopic variations that are reflected in the literature they express, this situation has created a series of contradictions reflected by the attitude of the writers towards the language in which they create their work. But as often happens in artistic fields, these contradictions can become sources of creative potential which, during the translation process, can easily spill over into the language of the translator to generate even greater enrichment. It all depends on what one chooses to lose and what to keep.

The publishing house founded by Paolo Boringhieri played a crucial role in the diffusion of scientific culture in post-war Italy especially during the period between 1957 and 1987 when it acted as a pioneering trailblazer. Its ambitious objective was to provide science with the tools (books) with which to capture a leading role alongside humanistic culture. Above all, it was essential to catch up with international culture and therefore, to translate; authors writing in Italian were not yet numerous and not familiar with communication methods. It was necessary to create a formal style for written texts, which became the Boringhieri hallmark and guarantee of quality, exemplified in the monumental complete edition of the works of Sigmund Freud.