by Giulia Baselica |
When the Nobel prize for literature was assigned to the Soviet Russian poet Iosif Brodskij, in 1987, it marked a change in the perception of Russian poetry in Italian culture. New translations of 19th and 20th century classical poets came out, some already known to the public (Puškin,
by Bruno Berni |
The direct and widespread translation of Scandinavian literature in Italy is relatively recent: it has only been a common practice since the last decades of the 20th century. The translation of Nordic poetry, therefore,
by Bruno Berni |
Translating Inger Christensen (1935-2009) is a special experience because of the structure of her works, which are always based on one or more – often extralinguistic – systems that make
by Massimo Bonifazio |
The reception of German-language poetry in Italy must be considered from various points of view, taking into account both the authors (“classics” or “emerging writers”) and the mediators (“scholars” or “publishers”). A lot has been translated in the past fifty years and there have been some important editions, philologically speaking, especially as regards the “classics”. The “emerging writers” are
by Francesca Maria Corrao |
Translating Arabic poetry is crucial in order to have an overall view of the cultural scene of Mediterranean societies. For the Arabs, poetry represents the highest means of expression and its beauty has always been a source of pride. Metaphors can convey hope and despair
by Fabrizio Dall’Aglio |
When a reader reads a text for the first time and that text is a translation, for him/her that translation plays the role of the original. Every literary translation pursues an aesthetic goal which is partly independent from the original text, and this is all the more true in the case of poetry, the translation of which needs to take into account not only the semantic but also the phonic level of the text.
by Fabio Scotto |
This article is an overview of French poetry translated into Italian since 1990. The author provides a historical introduction, outlining similarities and differences between the poetic literatures of the two countries, especially as regards the use of prose in poetry, which is more prevalent in France than in Italy. In the third and final part of the article, the author makes some personal considerations on his education and experience as a translator.
by Joëlle Gardes |
This article analyses the main difficulties encountered in translating Tommaso Di Dio’s collection Tua e di tutti into French, La tienne et à tous. It adopts the point of view of the translator faced with an allusive kind of poetry, full of references to the poet’s private memories and
by Giulia Iannuzzi |
This article is a historical survey of translated poetry in Italy, starting from a few important publications in the late 19th century that prepared the ground for the future. It reports the appearance, coding and use of parallel texts, and all subsequent publishing projects which marked
by Valerio Magrelli |
An extract from a forthcoming book, this article analyses a specific aspect of poetic translation: the problem of how to reproduce rhymes. The text develops from a single example, a quatrain specially composed by Yves Bonnefoy for a German primary school. The aim is to show what happens if one tries to reproduce both the poem’s metric and its monorhyme. The article illustrates two alternative solutions, each of which gives rise to a couple of Italian versions of the French original.