http://elea.unisa.it/xmlui/handle/10556/6748 2026-04-14T15:01:45Z 2026-04-14T15:01:45Z Sica, Giorgio http://elea.unisa.it/xmlui/handle/10556/6749 2025-04-30T17:03:42Z 2021-01-01T00:00:00Z

Introduzione Sica, Giorgio

2021-01-01T00:00:00Z http://elea.unisa.it/xmlui/handle/10556/6747 2025-04-30T17:03:38Z

According to Friedmar Apel «[...] Literary translation is a “form” that understands and gives substance to the experience of the original in another language». Of this “dialectical uniqueness”, in its form and content, the German scholar highlighted above all the relationship that, from time to time, was being established between the single work and a specific “horizon of reception”; and on whose perspective line the historical-cultural context, the language stage, the literary tradition and the dominant ‘poetics’ were placed. If compared to the experience of five poet-translators in contemporary Italian Literature (Mariano Bàino, Franco Buffoni, Roberto Deidier, Roberto Piumini, Eduardo Zuccato) the definition of Friedmar Apel’s “movement of language” seems to find a very authoritative model; forerunner in the idea of “poietic interlocking” formulated by Luciano Anceschi. Also a dual definition – in the twin normative function of the “poetics of the translated” and the “poetics of the translator” – recognized by Anceschi above all in the “reflection that artists and poets carry out on their own actions, indicating the technical systems, the operating rules, morality, ideals”. Salerno, Testi e linguaggi (2021)

http://elea.unisa.it/xmlui/handle/10556/6746 2025-04-30T17:03:35Z

Renaissance in France is one of the most important ages for the history of translation. Whereas some of the European languages are considered like noble national languages, translation practice changes deeply. In fact, in order to encourage the use of the national language, in France François I’s policy facilitates the translation of an increasing number of texts or documents after a long period of oblivion. After 1540, translation is considered like urgent and necessary to transfer knowledge. Only a few translators have personal theories which help them follow specific rules. After Etienne Dolet, the best known theoreti cian, Jean Martin, through his translations of Vitruvius, contributes to make this author popular and, in particular, to improve lexicology research in the Renaissance age. After François I’s death, he becomes an important personality in Paris thanks to his contacts with Michel Vascosan’s translation laboratory. Mar tin proposed to enhance every text rather than to translate it. This does not prevent him from respecting every author, his thoughts and his original text. He admired ancient documents and, as a consequence, he is considered a bridge between Antiquity and Renaissance as he was one of the most innovative tran slators of that century. He became famous for his ‘mirror translation’ practice in the respect of original language and texts.

Gurrieri, Antonio http://elea.unisa.it/xmlui/handle/10556/6745 2025-04-30T17:03:32Z 2021-01-01T00:00:00Z

Villa Amalia de Pascal Quignard. Lexiculture et paramètre pro-drop en traduction Gurrieri, Antonio The publication of Villa Amalia marks in 2006 the returns to novel for Pascal Quignard. This is after six years of silence. The Italian translation of the novel is published in 2018 by Valentina Valente who is also a well-known classical singer. Firstly, the aim of this paper is to analyze how the translator faced the dif ficulties related to the translation between two similar languages but with differences about those words that Galisson calls the CCP of words or “charge culturelle partagée”. Secondly, we study the pro-drop parameter in translation and the effects produced in the target text. Finally, we evaluate if the translated text respects the author’s style.

2021-01-01T00:00:00Z