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Journal articles on the topic 'Italian-Language Poetry'
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1
Dokuchaev, I. I. "Canzoniere Francesco Petrarch in a new translation by Vladimir Maransman." Voprosy kul'turologii (Issues of Cultural Studies), no. 8 (August 1, 2020): 28–34. http://dx.doi.org/10.33920/nik-01-2008-03.
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The review presents a new book by Corresponding Member of the Russian Academy of Education Vladimir Georgievich Maransman — a translation from Italian of the Book of Songs (Canzoniere) by Francesco Petrarch. This translation is a real event in the history of modern Russian culture, since it turned out to be one of the first full translations into Russian of the main book of the great Italian poet of the Renaissance, the first lyric poet in the history of European poetry — Petrarch, made by one translator. The translation was carried out taking into account the long tradition of Russian translations of Petrarch poetry and has a significant amount of author's text (poet's property). The translation uses the original method of V. G. Marantsman, already used in his previous work — the full translation of Dante’s “Divine Comedy”, and which has been recognized by many readers and critics; a method of conveying the stylistic features of Italian poetry of the era of its occurrence by similar means of the Russian language.
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Russo, Tommaso, Rosaria Giuranna, and Elena Pizzuto. "Italian Sign Language (LIS) Poetry: Iconic Properties and Structural Regularities." Sign Language Studies 2, no. 1 (2001): 84–112. http://dx.doi.org/10.1353/sls.2001.0026.
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Sokolova, O. V. "War and Language in Italian Futurism, Russian Cubofuturism and British Vorticism (Cognitive-Discursive Approach)." Critique and Semiotics 37, no. 2 (2019): 229–48. http://dx.doi.org/10.25205/2307-1737-2019-2-229-248.
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The paper explores the conceptualization of war in the texts of different avant-garde movements. The article considers the case of manifestos, articles, journal issues and poetic collections of Italian Futurism, Russian Cubofuturism and British Vorticism, primarily, texts by F. T. Marinetti, V. Mayakovsky and W. Lewis. The war served as a trigger for artistic and language experiments. That is why Benjamin’s conception of “politicization of aesthetics” and Deleuze and Guattari’s conception of the “war machine” are relevant for the analysis. The text analysis is based on discourse-pragmatic and cognitive-linguistic approaches. These approcaches make it possible to reveal the specifics of avant-garde experiments aimed at the formation of a new artistic language with the help of a fundamental transformation and activation of cognitive, communicative and linguistic resources. Avant-garde movements formulated the conceptions underlying their communicative strategies: Marinetti’s performance-actional strategy “Art as action” (l'Arte-azione), Mayakovsky’s linguistic-creative strategy “Cacophony of war” as “sermon of new beauty”, and Lewis’s performance-contextual “Blast and Bless-strategy”. Cognitive approach reveals the overcoming of the border between art and reality, artistic and conceptual metaphors, as well as bridging the “source area” and “target area” in conceptual metaphor. In Italian Futurism, the target area can be both Art and War, which affects the choice of source area: Art is War, but War is Medicine, War is Holiday. Russian Cubofuturists formed a special type of “introvertive” (Jakobson’s term) conceptual metaphors: Poetry is War. War is Poetry; Art is War. War is Art. In British Vorticism both “traditional” (Art is War, War is Game) and “introvertive” conceptual metaphors meets: Enemy / Poet is Ally / Soldier. Ally / Soldier is Enemy / Poet.
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Benardelli, de Leitenburg Mainardo. "Geopolitica della lingua italiana." FUTURIBILI, no. 2 (September 2009): 139–61. http://dx.doi.org/10.3280/fu2008-002015.
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- Language is one of the most widely discussed questions in Italian social and literary history, and Italian has recently been dropped from the list of official languages in the European Community. The author presents a historical overview starting from the 13th century, which saw the beginning of popular literature in poetry, and comprising the development of written and spoken Italian from traditional regional literature to the evolution of the dolce stilnovo, the appearance in the 19th century of the language of Manzoni and his antagonists, the composition of the first Dictionary of the Italian language and the practice of transferring teachers and national service conscripts from one part of the country to another so as to spread a standard language over the whole territory. The article concludes with the observation that language changes over time and that its current written and spoken form is the result of standardisation produced by the population's exposure to the mass media.
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Cornish, Alison. "A Lady Asks: The Gender of Vulgarization in Late Medieval Italy." PMLA/Publications of the Modern Language Association of America 115, no. 2 (March 2000): 166–80. http://dx.doi.org/10.2307/463254.
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Classical texts were extensively translated into the vernacular in Italy during the period when Italian poetry began, and the “mentality” of translation is traceable in this early verse. Vernacularization is gendered female, especially in the conventions of lyric poetry. As exemplified in some thirteenth- and fourteenth-century poems and their prose commentaries, “vulgarization” is often presented as a discourse to women, who are conceived as a superior rather than an inferior audience. Instead of demeaning the Latin original, this kind of vulgarization paradoxically ennobles both the learned or scientific content and the young language in which it is written. This peculiar moment of Italian literary history contrasts with concurrent translation in France, with the subsequent abandonment of vulgarization under the influence of Petrarch, and with modern notions of the politics of translation.
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Lepri, Chiara. "Avant-garde and Experimentalisms in Poetry for Children from Rodari to the Present Day: a Travel between Authors and Works." Rivista di Storia dell’Educazione 7, no. 2 (December 2, 2020): 61–74. http://dx.doi.org/10.36253/rse-9654.
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In 1985 Franco Fortini wrote provocatively that poetry for children does not exist, arguing that it is alien to their ability to fully grasp its expressive significance. However, there had already been the experience of Gianni Rodari, from whose contribution the critical and historiographic reflection on an authorial (and quality) poetic word addressed to childhood cannot be ignored: he had placed linguistic game at the center of poetry for children, combining the lesson of French surrealism with the Italian futurist experience of Palazzeschi and he consciously placed himself along that modern poetic line that sees a flowering of great importance especially in the post-war period. It is a type of poetry that is enriched by the contribution of a playful and divergent dimension and that knows how to speak the language of children: the rhythm, the assonance, the rhyme, but also the associative procedures grafted through the surrealist techniques naturally meet the child animus and at the same time open to an articulated, plural dimension, rich in ethical and political tension. Along this trajectory of linguistic experimentalism masterfully inaugurated by Rodari, the contribution intends to identify the paths of other authors in the proposal of a poetry aimed at children that is innovative and valid on a content and formal level: the reference is to Roberto Piumini and Pietro Formentini in particular, who have recognized, in poetry for children and young people, a vast and welcoming space for exploration and expressive freedom, but also, more recently, to the refined research of poetesses such as Chiara Carminati and Silvia Vecchini, whose poetic production is constantly embellished by a reflective work of undoubted charm and of notable interest for the investigation on a literary, aesthetic, educational level.
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Friggieri, Oliver. "L'IDENTITÀ CULTURALE DI DUN KARM, IL POETA NAZIONALE DI MALTA." Forum Italicum: A Journal of Italian Studies 42, no. 1 (March 2008): 129–54. http://dx.doi.org/10.1177/001458580804200108.
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Carmelo Psaila (1871–1961), officially known as Dun Karm, has been acknowledged as Malta's national poet long before his death. He embodies the close relationship prevailing for long centuries between Italian culture and Maltese Literature. This essay seeks to unearth the basic characteristics of Dun Karm's poetry, in both Italian and Maltese, in the light of the Italian tradition, ranging from Dante to Monti and Manzoni. His initial identity is neoclassical, and as he moves ahead and gets more aware of his own environment, he assumes an ever growing romantic character. Various aspects of his style (vocabulary, rhythmic patterns, grammatical nuances) and metaphorical language show that there is a profound continuity between his writings in Italian and the subsequent ones in his own native tongue. Through a comparative analysis of his more typical poems, and with specific reference to Vincenzo Monti and Alessando Manzoni, the cultural personality of Dun Karm is identified and illustrated with numerous examples.
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Syshchikova, Ekaterina S. "Translation as a part of linguoculture of Spain in the XVI-XVII centuries." Cuadernos Iberoamericanos, no. 2 (June 28, 2017): 83–88. http://dx.doi.org/10.46272/2409-3416-2017-2-83-88.
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XVI- XVII centuries were the «golden age» in the history of Spanish culture, which was largely due to the translation. Through translation into Spanish literature, the motifs and forms of lyrical and epic poetry, the themes of ancient and Italian plays, the knightly and pastoral novel, the novel genre have penetrated. The translation allowed the Spaniards to get acquainted with the ideas of humanists from di erent countries of Western and Central Europe. The translation contributed to the enrichment of the Spanish language.
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Samuel, Jamuna. "Ethics and Musical Language: A Gramscian Reading of Dallapiccola’s Liriche greche and Their Influence." Articles 35, no. 1 (February 14, 2017): 123–53. http://dx.doi.org/10.7202/1038947ar.
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Luigi Dallapiccola (1904–75)—a pioneering figure as serialist, composer of protest music, and trailblazer for the avant-garde—wrote his Greek Lyrics song cycle (1942–5) as an escape from wartime anxiety. I locate the Lyrics within a nexus of technique, text setting, and ethical engagement. That complex resonated with the younger composers Berio, Nono, and Maderna, each responding in the postwar period with settings from the same collection, Quasimodo’s 1940 free translation of classic Greek lyrics. I examine Quasimodo’s ethics, placing his poetry and Dallapiccola’s settings within Gramsci’s notions of language and politics, which were highly influential on postwar Italian composers.
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Dalmonte, Rossana. "Rethinking the Influence of Italian Poetry and Music on Liszt The Petrarca Sonnet Benedetto sia ‘l giorno." Studia Musicologica 54, no. 2 (June 1, 2013): 177–98. http://dx.doi.org/10.1556/smus.54.2013.2.5.
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The article aims to clarify some intricate points about the interpretation of Liszt’s Petrarch Sonnet Benedetto sia ‘l giorno throughout its many settings (manuscripts and prints). The author discusses first the problem of Liszt’s knowledge of the Italian language and metric norms, usually taken for granted; then that of the dates — of composition, of revision(s), of publication(s) — which has been covered much more widely in the literature than that of the language, but that still presents uncertainties. Taking the correspondence between the rhythm of the poem and that of the music as a means of analysis, the author suggests the cooperation of external hands in the setting of the words. Discussing the form of the piece, the paper tries to confute the various commonplaces of the literature; the difficulties inherent in the meter (the hendecasyllable) and the various ways in which its rhythm is interrupted — through repetitions, pauses and vocalizations etc. — are examined. The conclusion is that in Benedetto sia ‘l giorno the relationship between music and poetry does not reflect any particular model of lied nor of opera aria; the piece instead hints slightly to the old Italian madrigal. Benedetto is not the occurrence of a known musical form, but an example of the crisis of the form.
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Gosfield, Avery. "I Sing it to an Italian Tune . . . Thoughts on Performing Sixteenth-Century Italian-Jewish Sung Poetry Today." European Journal of Jewish Studies 8, no. 1 (June 25, 2014): 9–52. http://dx.doi.org/10.1163/1872471x-12341256.
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Although we know that Jewish musicians and composers were active in Renaissance Italy, very few compositions by Jewish authors or music specifically destined for the Jewish community has survived. There are few exceptions: Salamone Rossi’s works, the tunes from Guglielmo Ebreo da Pesaro’s dance manuals, Ercole Bottrigari’s transcriptions of Jewish liturgy, a handful of fragments. If we limit the list to pieces with specifically Jewish content, it becomes shorter still: Rossi’s HaShirim asher liShlomo and Bottrigari’s fieldwork. However, next to these rare musical sources, there are hundreds of poems by Jewish authors that, although preserved in text-only form, were probably performed vocally. Written in Italian, Hebrew and Yiddish, they usually combine Italian form with Jewish content. The constant transposition and transformation of form, language and content found in works such as Josef Tzarfati’s Hebrew translation of Tu dormi, io veglio, Elye Bokher’s Bovo Bukh, or Moses of Rieti’s Miqdash Me’at (an artful reworking of Dante’s Divina Commedia) mirror the shared and separate spaces that defined Jewish life in sixteenth-century Italy. None of these poems have come down to us with musical notation. However, several have extant melodic models, while others have indications, or are written in meters—like the ottava or terza rima—that point to their being sung, probably often to orally transmitted melodies. Even if it is sometimes impossible to ascertain the exact tune used in performance, sung poetry’s predominance in Jewish musical life remains undeniable. HaShirim asher liShlomo, usually considered the most important collection of Jewish Renaissance music, might not have ever been performed during its composer’s lifetime, while Rieti’s Miqdash Me’at survives in over fifty manuscripts, including four Italian translations. In one of these, translator/author Lazzaro of Viterbo writes, tellingly, about looking forward to hearing his verses sung by his dedicatee, Donna Corcos.
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Abramov-van Rijk, Elena. "THE MADRIGAL AQUIL'ALTERA BY JACOPO DA BOLOGNA AND INTERTEXTUAL RELATIONSHIPS IN THE MUSICAL REPERTORY OF THE ITALIAN TRECENTO." Early Music History 28 (August 24, 2009): 1–37. http://dx.doi.org/10.1017/s0261127909000412.
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One difficulty in understanding the poetic texts of Trecento madrigals is that the language they use is often that of allegories and symbols, which requires a key for deciphering their true meaning. It is widely accepted, based on the interpretation of birds as heraldic symbols, that the madrigal Aquil'altera (Proud eagle) by Jacopo da Bologna was written either for a wedding or for a coronation ceremony. In this essay, however, I show that Aquila's content and literary style echo ideas and images that were circulating in the literature of the time, and especially in bestiaries and bestiary-inspired Italian poetry. Since these sources were well known to every educated person of the time, we may assume that its symbolic content, which is actually a praise of the human intellect, would have been understood by listeners and readers. This madrigal in turn provides a stimulus for tracing its ideas in other musical compositions of the Trecento, the madrigals Musica son by Francesco Landini and Se premio di virtù by Bartolino da Padova. These compositions are examined in the context of a specific cultural phenomenon in Italy of this period, namely, tenzoni, or correspondence in poetic forms – a practice that was the natural domain of the phenomenon we know as intertextuality.
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Putnam, Michael C. J. "Virgil and Sannazaro's Ekphrastic Vision." Ramus 40, no. 1 (2011): 73–86. http://dx.doi.org/10.1017/s0048671x00000205.
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If the Neapolitan humanist Jacopo Sannazaro (1458-1530) receives any recognition in scholarly circles these days, it is usually for his Arcadia, an elaborate pastoral in twelve books, each combining prose and verse, that forms one of the most important links between the work of Petrarch, its inspiration, and that of Sir Philip Sidney. The Arcadia, published first authoritatively in 1504, is written in Italian, as are the hundred or so surviving Rime (songs and sonnets), largely products of the last decade of the fifteenth century. But Sannazaro was also a prolific writer in Latin. It is a question worth asking why, after the success of his vernacular magnum opus, he opted to use primarily a classical language for the major poetry that occupied his attention for the opening decades of the subsequent century. Perhaps a confirmation of his allegiance to Christian humanism is one reason. Perhaps also it was his devotion to Virgil whose three great works provided him with the most telling impetus for his own achievements in the Augustan poet's tongue.
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McIlfatrick-Ksenofontov, Miriam. "Fetching Poems from Elsewhere: Ciaran Carson’s Translations of French Poetry." Interlitteraria 21, no. 1 (July 4, 2016): 51. http://dx.doi.org/10.12697/il.2016.21.1.5.
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Ciaran Carson is a renowned Northern Irish poet with a distinguished record of translating poetry from Irish, Italian and French. This article focuses on his translation practice as evidenced in his three volumes of French poetry in translation: sonnets by Baudelaire, Mallarmé and Rimbaud; prose poems by Rimbaud; and poems by Jean Follain. Guided by the music, the matter, and the linguistic and ontological going-beyond of the originals, Carson variously ‘adapts’ prose poems to a rhyming alexandrine format, makes explicit use of derivation, shifts spatio-temporal perspective, and ‘doubles’ his French translations with English originals. Carson’s approach of ‘fetching’ poems from ‘elsewhere’ is assessed in the light of Meschonnic’s poetics of translation, which would define the overarching objective as producing new poems in English which do in English what the originals do in French. The analysis of Carson’s new poems is also informed by conceptualizations of creativity and originality arising from research in cognitive science, literary studies and critical theory. Carson’s practice of working under constraints suggested by the original poems and exploiting possibilities offered by and between the two languages leads to an expressive plurality that unsettles notions of source and target language. His translation artefacts and commentaries are examined for the light they shed on originality and derivation; writing and translating; the subjectivity of the translator; and the relationship between original poem and new poem.
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Trevisani, M. Ivana Bach. "Trekking in the Wood // Trekking nel bosco // Senderismo en el bosque." Ecozon@: European Journal of Literature, Culture and Environment 6, no. 1 (February 26, 2015): 187. http://dx.doi.org/10.37536/ecozona.2015.6.1.650.
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This poem, here offered in a bilingual version, was written on the occasion of a walk in the Adelasia beech forest in the Beigua Natural Park (Liguria, Italy), and it is part of a poetry collection titled Ecopoems (http://ecopoems. altervista.org). The English translator is Kiawna Brewster, who has worked under the supervision of Barbara Carle (Professor of English at Columbia University). Following the guidelines of the Manifesto of Italian Ecopoetry, the language used here is as simple and humble as the subjects speaking through these poems (animals, plants and the whole Earth). I intend this as a poetic communication which could be intelligible to all cultures, and therefore easy to translate and to widely spread, as wished by the UNESCO message of the World Poetry Day. Resumen Este poema, ofrecido en su versión bilingüe, se escribió aprovechando un paseo por el hayedo Adelasia en el Parque Natural de Beigua (Liguria, Italia), y es parte de una colección de poemas titulada Ecopoems (http://ecopoems.altervista.org Ecopoems). La traductora al inglés es Kiawna Brewster, que ha trabajado bajo la supervisión de Barabar Carle (profesora de inglés en la Universidad de Columbia). Siguiendo las directrices del Manifiesto Italiano de Ecopoesía, el lenguaje usado es tan sencillo y humilde como los sujetos que hablan a través de estos poemas (animales, plantas y toda la Tierra). Tengo la intención de que esta sea una comunicación poética inteligible para todas las culturas y, por lo tanto, fácil de traducir y extender ampliamente, tal y como desea el mensaje del Día Mundial de la Poesía de la UNESCO.
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Perazzo Domm, Daniela. "Crisis and the Emotional Body: Towards (Another) Freedom." Performance Philosophy 4, no. 1 (August 30, 2018): 188–205. http://dx.doi.org/10.21476/pp.2018.41196.
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In his analysis of the recent European crisis, Franco ‘Bifo’ Berardi (2012) looks beyond its economic causes and implications and theorises the role played by poetry and the emotional body in rediscovering the relationship between language and desire and reopening the possibility of social solidarity. Drawing on Félix Guattari’s (1995) reflections on the correlation between singular refrain and universal chaos in the reinvention of subjectivity, Berardi conceptualises rhythm as a poetic feature which can contribute to restoring our ability to conjoin with other singularities and with our social and cosmic environment. This article considers how a close engagement with rhythmical, repetitive and cyclical performative practices in examples of recent European choreography may offer ways of responding to today’s crisis of social cohesion, reimagining channels of intensive communication. In particular, the article looks at works by the Italian artist Alessandro Sciarroni (Folk-s, will you still love me tomorrow?, 2012 and Chroma_don’t be frightened of turning the page, 2017) and by the London-based duo Igor and Moreno (Idiot-Syncrasy, 2013) and discusses how, in revisiting elements of folk traditions, they mobilise their potential as formal, semantic and affective modalities that can sustain a reconfiguration of social freedom.
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Lakhtionova, K. "TRANSLATION ERRORS IN TRANSLATIONS OF FICTION TEXT OR TRANSMITTING TRACKERS." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 33 (2018): 210–17. http://dx.doi.org/10.17721/2663-6530.2018.33.15.
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Everything has been changing all the time in our world. It concerns language and literature as well. New traditions are being formed, and old ones die. Literary activity (creativity) could not avoid such changes: flexible natural form (shape) came instead of classical writing, instead of classical writing, great and sentimental, inherent to French literature. Bokacho`s Style and perfectionism in language mean following the rules of language standard, starting from XIII century and finishing XVIII. Padre Grande was criticized too for glorification of Toskana literary language and humiliation of local dialects. Outstanding personality of Dzhuzeppe Parini appears in early period of defining his positions, ignoring linguistic polemics, avoiding different extremes and exaggerations. Parini demonstrates society in ironic style, old such as “batrachomyomachia” – ironic “Illiada”, Moskeida” – Orlando`s statements: epical forms reflect plebeian picture of the world. Irony – is a kind of obsolete society, which didn`t understand its decline. Obsolete does its best to pretend modern, the more proud is the style, the poorer it is. This is the essence of Parini`s conception incarnated in his literary work “Giorno”(Day) which is based on irony, deep and sad. There are no doubts, that after the research and discuss about Parini, after publications of the translation in Spanish, not only ceased, but gained great interest of literary researches. It is clear, that some mistakes in translations were done, but we are not judges. The most important is basic content which is presented in the introduction of A. Prieto. Analyzing translator`s mistakes from Italian language of original text into Spanish we have to focus on key phrase of Maris Isabel Honsales-Fernandes, that Spanish has not a lot in common with Italian. It is evident especially in translation of lexical units, where the translator did mistakes, that demonstrates not appropriate level of Italian language knowledge. We can call this phenomenon “amici falsi del traduttore”, ignorance of particular lexis and meaning that lexical unit can have in both languages. This ignorance led to misunderstanding even to ugliness and curvature of original text. The translator Marselo Arroyita-Chauresi, who is a poet himself, is much more to be desired. He has tried to follow the text of original in some cases. But he was not successful in his attempts. You can just imagine Spanish translation to be translated into language of original even being of 200 years old, which we could receive. Not a proper level of the Italian language and misunderstanding of some words, which in Spanish and Italian sound the same way. Translator`s work – hard labour which needs flawless knowledge of the language of original not to loose while translating artistic value or even to deface author`s concept. It just verifies common known truth: not to ignore even the slightest peculiarities of the text of original. The translator has to know lexis and a grammar perfectly, be able to use translator`s transformations in order to avoid such phenomena as failed translation and misrepresentation of the content of the text, especially if it is a poetry.
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Taha,PhD, Dr Aseel Abdul-Lateef. "Abstract Expressionism Techniques in John Ashbery’s "Self-Portrait in a Convex Mirror"." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 218, no. 1 (November 9, 2018): 129–46. http://dx.doi.org/10.36473/ujhss.v218i1.531.
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John Ashbery (1927-) is one of the most prominent postmodern poets in America who is known for his innovative techniques. He continues to be the most controversial poet, as he disregards the laws of logic in picturing reality. Ashbery’s style is deeply influenced by the experimental methods of modern painting. He has been mostly associated with Abstract Expressionism that signifies the great progress in the European avant-garde visual art. The Abstract expressionists often choose to present subjects in graceful distortion, rather than attempt to record life with absolute accuracy. Ashbery’s “Self-Portrait in a Convex Mirror” is typical of ekphrastic poetry. It is inspired by a painting which has the same title by the sixteenth-century Italian painter, Francesco Mazzola. The painting is not a realistic portrait of the painter, for it is deliberately distorted as it would be in a convex reflection. Ashbery unfolds the essence of postmodern poetry which illustrates the inability of the forms of language to capture the reality beyond the mental image. Like the Abstract Expressionists, he makes of his poems a depiction of the real workings of the mind which is liberated from all the constraints. Furthermore, the poem is a verbal depiction of the painting; it assumes and transforms the inner voice of the portrait.
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Calcagno, Mauro. "“Imitar col canto chi parla”: Monteverdi and the Creation of a Language for Musical Theater." Journal of the American Musicological Society 55, no. 3 (2002): 383–431. http://dx.doi.org/10.1525/jams.2002.55.3.383.
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Abstract Conventional views of text/music relationships in early Italian opera focus on the imitation of affections. But by dealing exclusively with the referential meanings of texts (e.g., emotions, images, and concepts) these views overlook an important aspect of music's interaction with language. In opera, music also imitates language's contextual and communicative functions—i.e., discourse, as studied today by the subfield of linguistics called pragmatics. In his operas Monteverdi fully realized Peri's ideal of “imitating in song a person speaking” (“imitar col canto chi parla”) by musically emphasizing those context-dependent meanings that emerge especially in ordinary language and that are prominent in dramatic texts, as opposed to poetry and prose. Such meanings are manifest whenever words such as “I,” “here,” and “now” appear— words called “deictics”—with the function of situating the speaker/singer's utterances in a specific time and place. Monteverdi highlights deictics through melodic and rhythmic emphases, repetition, shifts of meter, style, and harmony, as part of a strategy to create a musical language suited to opera as a genre and to singers as actors. In Il ritorno d'Ulisse in patria and L'incoronazione di Poppea, this strategy serves large-scale dramaturgical aims with respect to the relationships among space, time, and character identity, highlighting issues also discussed within the contemporary intellectual context.
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Nosow, Robert. "THE DEBATE ON SONG IN THE ACCADEMIA FIORENTINA." Early Music History 21 (September 4, 2002): 175–221. http://dx.doi.org/10.1017/s026112790200205x.
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For James Haar on his 70th BirthdayThe sixteenth century in Italy was a time when academies of all kinds flourished as venues, and often as arbiters, of literature and high culture. A casual look at the academies might give the impression that they were mostly social in nature, that they functioned as a pastime for bored aristocrats and ambitious letterati. As originally constituted, the Accademia degli Umidi, founded 1 November 1540, indeed fitted this description, but with one difference characteristic of Florentine society - it was organised by twelve men of various social classes with a common interest in poetry and language. The academy expanded considerably under the patronage of Duke Cosimo I de' Medici and on 25 March 1541 was reconstituted as the Accademia Fiorentina. Its avowed purpose was to promote the Tuscan language as an instrument of literature and knowledge, in an age when mastery of Latin was required of any educated man. In advancing the cause of vernacular literature, the Accademia Fiorentina, like other academies of the time, greatly extended the programme of Italian humanism, making available the fruits of humanist thought and enquiry to a larger public.
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Santos, Maria Aparecida Cardoso, and Alice Rodrigues Crivano da Silva. "Sobre a tradução poética e o Poetry Slam: crepa! – uma análise e muitos diálogos." Revista Italiano UERJ 12, no. 1 (September 5, 2021): 14. http://dx.doi.org/10.12957/italianouerj.2021.62088.
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RESUMO: O presente trabalho visa a ratificar o papel do tradutor como mediador entre culturas ao discutir as estratégias utilizadas na tradução e na retradução de um poema escrito em língua italiana. O corpus de análise, o poema crepa! criado pelo escritor e poeta sardo Sergio Garau, traduzido para língua portuguesa e apresentado na edição da FLUP de 2016, é um expoente da poetry slam, atribuindo a importância da oralidade, da métrica e das rimas do original durante o ato tradutório. Nesta modalidade, cuja performance artística é essencial para agregar significado ao poema, a meta objetivada seria produzir uma tradução satisfatoriamente fiel tanto no que diz respeito à forma quanto ao conteúdo. À luz de teóricos como Paulo Henriques Brito, Umberto Eco, dentre outros, evidenciamos dificuldades e soluções durante o desafio da tradução poética intercultural. Neste, também comentamos sobre outras questões igualmente pertinentes como a possibilidade de contato com o autor para solucionar eventuais dúvidas; a importância do trabalho em equipe na busca de outras perspectivas para a transposição do poema à língua de chegada; a validade de uma tradução e a necessidade de uma nova versão da mesma em prol da aprimoração constante do trabalho realizado pelo tradutor.Palavras-chave: Tradução poética. Tradução intercultural. Italianística. ABSTRACT: Questo lavoro si propone di confermare il ruolo del traduttore come mediatore tra culture discutendo le strategie utilizzate nella traduzione e nella ritraduzione di una poesia scritta in italiano. Il corpus di analisi, il poema crepa! creato dallo scrittore e poeta sardo Sergio Garau, tradotto in portoghese e presentato nell'edizione della FLUP 2016, è un esponente del poetry slam, attribuendo l'importanza dell'oralità, della metrica e delle rime dell'originale durante l'atto di traduzione. In questa modalità, la cui esecuzione artistica è essenziale per aggiungere significato al poema, l'obiettivo mirato sarebbe quello di produrre una traduzione soddisfacentemente fedele sia in termini di forma che di contenuto. Alla luce di teorici come Paulo Henriques Brito, Umberto Eco, tra gli altri, mettiamo in evidenza difficoltà e soluzioni durante la sfida della traduzione poetica interculturale. In questo commentiamo anche altre questioni altrettanto pertinenti come la possibilità di contattare l'autore per risolvere eventuali dubbi; l'importanza del lavoro di squadra alla ricerca di altre prospettive per trasporre la poesia nella lingua di destinazione; la validità di una traduzione e la necessità di una nuova versione per migliorare costantemente il lavoro svolto dal traduttore.Parole chiave: Traduzione poetica. Traduzione interculturale. Italianistica.ABSTRACT: This work aims to confirm the role of the translator as a mediator between cultures by discussing the strategies used in the translation and re-translation of a poem written in Italian. The corpus of analysis, the poem crepa! created by sardinian writer and poet Sergio Garau, translated into portuguese and presented in the 2016 edition of FLUP, it’s an exponent of poetry slam, attributing the importance of orality, meter and rhymes of the original during the translation act. In this modality, whose artistic performance is essential to add meaning to the poem, the aimed goal would be to produce a satisfactorily faithful translation both in terms of form and content. In the light of theorists such as Paulo Henriques Brito, Umberto Eco, among others, we highlight difficulties and solutions during the challenge of intercultural poetic translation. In this work, we also comment on other equally pertinent issues such as the possibility of contacting the author to resolve any doubts; the importance of teamwork in search of other perspectives for transposing the poem to the target language; the validity of a translation and the need of a new version in order to constantly improve the work performed by the translator.Key words: Poetic Translation. Intercultural Translation. Italian Studies.
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Cullhed, Eric. "Bakgrunden till Kellgrens ”Öfver Propertii Buste”." 1700-tal: Nordic Journal for Eighteenth-Century Studies 11 (August 17, 2014): 90–100. http://dx.doi.org/10.7557/4.3085.
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The Background to Kellgren’s ”On a bust of Propertius”. This article examines the Swedish eighteenth-century poet Johan Henric Kellgren’s widely celebrated epigram “On a bust of Propertius” (“Öfver Propertii Buste eller Porträt”), published posthumously. An attractive but fanciful story about the poem as Kellgren’s autobiographical reflection and personal farewell on his deathbed has triggered an unwillingness among scholars to explore what the writer himself declares: that the piece is a translation of the epigram In statuam Propertii by the virtually unknown Italian Renaissance poet Guido Postumo Silvestri of Pesaro. The first section of the article surveys the intertextual field of Postumo’s poem and analyses its fusion of common tropes and motifs in the Greco-Roman and Neo-Latin ekphrastic epigram traditions. The second section traces the subsequent textual history of Postumo’s poem and the changes it underwent in reprints as well as in the eighteenth-century Danish philologist Frederik Plum’s translation into his native language. The third and final section focuses on Kellgren’s interpretation of the Danish text. It was through a process in several steps of reproductions and translations that the Neo-Latin creation was strained of its manierism, mythological references and allusions to late antique poetry, producing this pathos-driven swansong.
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Bikundo, Edwin. "‘Behold, I tell you a mystery’: Tracing Faust’s Influences on Giorgio Agamben to and from International Law." Pólemos 15, no. 1 (April 1, 2021): 15–35. http://dx.doi.org/10.1515/pol-2021-2002.
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Abstract It is a mystery as to why more is not made of the influence of Johann Wolfgang von Goethe’s Faust on Italian philosopher Giorgio Agamben’s body of work. After all, as a great philosophical poet, and tremendously concerned with language, Goethe’s work could not have failed to capture Agamben’s attention, especially given his early and sustained interest in poetry. Indeed, Agamben cites Goethe in at least 12 of his works including: The Use of Bodies, Creation and Anarchy, Pilate and Jesus, The Kingdom and the Glory, Homo Sacer, The Signature of All Things, Stanzas, The End of the Poem, Potentialities, Karman, Adventure and Infancy and History. Crucially, the last five reference Goethe’s Faust directly. Thus, this paper seeks to remedy the relative lack of explicit engagement and demonstrate the strong, clear and persistent influence of Goethe’s Faust that underpins Agamben’s signature philological and philosophical approach to literarily explicating law’s foundational riddles. Agamben’s Homo Sacer, project – it must be recalled – quite accidentally began in part as a direct response to the legalistic justifications for the 1990–91 Gulf War. The present discussion seeks to demonstrate that Goethean influence ironically enough through a close examination of both Faust’s and Agamben’s attempts at partially translating a biblical phrase: ‘in the beginning was the word’.
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Vinall, Shirley W., and Willard Bohn. "Italian Futurist Poetry." Modern Language Review 103, no. 2 (April 1, 2008): 560. http://dx.doi.org/10.2307/20467851.
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Revyakina, Nina. "Juan Luis Vives on the use of Ancient literature in education." Hypothekai 5 (September 2021): 214–35. http://dx.doi.org/10.32880/2587-7127-2021-5-5-214-235.
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The work “On Education” (De tradendis disciplinis) by the Spanish humanist Juan Luis Vives (1492/3–1540) is considered from the perspective of the use of ancient literature during the in-itial period of child school training (from 7 to 15 years). Vives’ appreciation of the Latin language, a positive attitude towards teaching Greek at school, and the influence of ancient languages on modern European languages — Italian, Spanish, and French are discussed. The article draws attention to some features in teaching the Latin language that are not characteristic of the hu-manists who preceded Vives and also wrote about school. They are as follows: using the native language as an instrument for mastering Latin at the initial stage of learning, and using modern literature - writers, grammarians, humanists, which helps to learn ancient languages in the subsequent period. These features can be explained by Vives’ epoch when national states were being estab-lished, national languages were strengthening, and pedagogical thinking was developing. The article also examines the issue brought up by Vives himself about the attitude to pagan literature and to some, in Vives’ opinion, morally questionable poets. With all the inconsistency of Vives and the low persuasiveness of his self-censorship, the solution to this problem comes down to se-lecting such authors the study of whose works will protect school students from vices. The article shows that both Latin and Greek literature (works on oratory, poetry, comedy, history, my-thology, etc.) are widely used in teaching. Ancient writings not only form and enrich the language, but also provide versatile knowledge, mainly of humanitarian kind, help to bring up an ed-ucated and cultured person. This is supported by a large survey of over 100 ancient authors, modern writers, scientists, humanists, early medieval writers, “church fathers”, publishers, translators, and commentators provided at the very end of Vives' discussion on education, with brief characteristics of many of them.
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Pittarello, Elide. "Ramón Gaya: "Creo que soy poeta pintando"." Monteagudo, no. 26 (March 12, 2021): 191–208. http://dx.doi.org/10.6018/monteagudo.472781.
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Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de la obra de arte se aproxima a una actitud mística. Emerge cuando se enfrenta a la pintura de Velázquez en España, antes de exiliarse en México. Este sentimiento trascendente se agudiza cuando visita Venecia por primera vez, en 1952, y asocia la pintura con el agua que fluye. Es el primer paso de su identificación sagrada de las artes –pintura, poesía, escultura y música– con la Naturaleza y sus elementos cosmológicos. La experiencia veneciana posibilita una nueva creatividad icónica y verbal. La pintura conlleva siempre una enigmática dualidad, manteniendo rasgos de su procedencia misteriosa. Los poemas que Ramón Gaya le dedica al Crepúsculo de Miguel Ángel son una muestra de su intermedialidad heterodoxa, donde a la técnica de lo diáfano en pintura corresponde el uso de la negación lógica por escrito. Esta estrategia lingüística es afín a la de los ensayos que tratan del mismo tema. Simonides of Ceos, who defined poetry as a speaking picture and painting a mute poetry, contributed to the rise of philosophy of art, the basis of modern Western aesthetics. For the Italian philosopher Benedetto Croce art is the aesthetic synthesis of intuition and expression through lyrical language. It embodies the representations of beauty, a universal event that doesn’t concern History nor art criticism. In a more radical way, Ramón Gaya refused this same knowledge since he was a very young painter, disappointed by avant-garde. His approach to works of art is close to a mystic attitude. It emerges when he faces Velázquez’s painting in Spain, before going into exile in Mexico. His transcendental feeling increases when he visits Venice for the first time, in 1952, and he associates painting with water flow. It is the first step of a sacred identification of arts –painting, poetry, sculpture and music– with nature and its cosmological elements. The Venetian experience gives birth to a new iconic and verbal creativity. Painting always involves an enigmatic duality, keeping features of its mysterious source. The poems that Ramón Gaya dedicated to Michelangelo's Dusk are a specimen of his unconventional intertermediality, where the diaphanous technique in painting corresponds to the use of logical negation in the verbal language. This linguistic strategy is in line with the essays dealing on the same topic.
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Vitti-Alexander, Maria Rosaria, John Picchione, and Lawrence R. Smith. "Twentieth-Century Italian Poetry: An Anthology." Modern Language Journal 78, no. 3 (1994): 402. http://dx.doi.org/10.2307/330138.
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Arapi, Ina. "Albania by the end of the 17th century and relations with neighbouring nations according to archbishop Pjetër Bogdani´s work "The band of the prophets" (1685)." Slavia Meridionalis 15 (September 25, 2015): 241–52. http://dx.doi.org/10.11649/sm.2015.020.
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Albania by the end of the 17th century and relations with neighbouring nations according to archbishop Pjetër Bogdani´s work "The band of the prophets" (1685)The old Albanian literature (mid-16th – mid-17th century), which includes the philosophical–theological treaty Cuneus prophetarum by Pjetër Bogdani (Padua, 1685), was born and developed as a literature mainly of religious content for the needs of the Catholic religion. Regardless of the topic, this literature was created in a certain historical, cultural and social environment, namely that of northern Albania and the Albanian population that lived there. Hence, the data provided in this book constitutes an invaluable source through which we have the possibility of learning more about the way of life and the functioning of this part of Albanian society of that time. Interesting data on the situation of the Albanian language of that time is to be found in the preface of this work. The author urges Albanians not to let their language and science degenerate, but just as other nations do, they should make efforts concerning its evolution and development. But the alarm for destructing the mother tongue is linked with author and his contemporaries’ high conscious more than with the reality. In fact, Bogdani´s work itself proves that Albanian at that time had expressive possibilities equal to those of the Italian language. Not only the expressive and lexical richness, but the syntactic structure of phrases shows a high degree of development and elaboration in the Albanian language of that time.Examining the foreword of the book, we can learn that efforts were being made to unify the language and to develop one literary variant based on the dialect of the town of Shkodra. Bogdani also tried to adjust the language of his work according to this town’s dialect.Relations with Italian and Croatian intellectuals are clearly demonstrated in dithyrambic poetry and in the dedications at the beginning of the book. In this work, we also find data on Albanian mythology. Cuneus prophetarum occupies a special place in Albanian literature, because it is the first original work of prose, unlike previous writings, which were mainly translations. Albania u zmierzchu XVII wieku i jej stosunki z państwami sąsiedzkimi według "Oddziału proroków" arcybiskupa Pjetra Bogdaniego (1685)Utwór Pietra Bogdaniego Cuneus prophetarum (Padwa 1685) jest jednym z najważniejszych tekstów starej literatury albańskiej (XVI-XVII wieku), która rozwijała się na potrzeby Kościoła katolickiego i zawierała głównie treści religijne. Znaczna część tego utworu to traktat filozoficzno-teologiczny. Tekst, mimo że ma zasadniczo charakter religijny, odsyła także do kontekstu historycznego, kulturowego i społecznego północnej Albanii, stanowiąc tym samym bezcenne źródło informacji o sposobie życia i funkcjonowania części społeczeństwa albańskiego w tym czasie.Już we wstępie znajdują się ciekawe informacje na temat sytuacji języka albańskiego. Między innymi autor wzywa Albańczyków, by nie dopuścili do degeneracji języka i nauki, wzywa także inne narody, by dbały o rozwój języka. Ta troska o język ojczysty i obawa przed jego zepsuciem wiąże się z pozycją autora, który był świadom sytuacji bardziej niż ktokolwiek inny. W istocie sama praca Bogdaniego udowadnia, że w tym czasie język albański dysponował nie mniejszymi środkami ekspresji niż język włoski. Nie tylko bogactwo form i leksyki, lecz także struktury składniowe wskazują na ówczesny wysoki stopień jego rozwoju i na wysoki stopień świadomości językowej.Jednakże, jak można dostrzec we wstępie, nie podejmowano wysiłków w celu ujednolicenia języka. Rozwijał się głównie wariant literacki, oparty na dialekcie miasta Shkodra. Bogdani próbował również dostosować swój język do tego dialektu.Świadectwem związków autora z włoskimi i chorwackimi intelektualistami są poetyckie dytyramby zamieszczone w dedykacji. W utworze znajdujemy również informacje na temat mitologii albańskiej.Cuneus prophetarum zajmuje szczególne miejsce w literaturze albańskiej, ponieważ jest pierwszym oryginalnym, albańskim utworem prozatorskim.
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Hainsworth, Peter, Alessandro Gentili, and Catherine O'Brien. "The Green Flame: Contemporary Italian Poetry." Modern Language Review 84, no. 2 (April 1989): 493. http://dx.doi.org/10.2307/3731631.
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Grabócz, Márta. "The Two Faces of the ‘mal du siècle’ in Literature and in Liszt’s Piano Works." Studia Musicologica 55, no. 1-2 (June 2014): 43–64. http://dx.doi.org/10.1556/6.2014.55.1-2.4.
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The article examines the topic of spleen (mal du siècle) as one of the main types of organization in the expressive structures of Liszt’s compositions. A series of relevant literary works are considered, which were read by Liszt and inspired a revolution in his musical language as early as 1834. The writings of Chateaubriand, Senancour, Byron (and a forerunner, Schiller), classified by Albert Thibaudet as the literature of emigration of the first romantic generation, drastically changed the classical concept of the Sublime, while the writings of Lamennais and Lamartine, labelled as the religious literature of the second generation, offered a remedy against the deep malaise by involving the faith in God. Views of another literary historian are also employed: Paul Bénichou distinguishes the spiritual counter-revolution in royalist and Catholic poetry (Chateaubriand), the rather exceptional case of Senancour who rejected religion remaining faithful to the spirit of the eighteenth century, and the humanist Romantic movement hallmarked by Lamartine’s optimism and Lamennais’s vision of Christian democracy. The musical analyses reveals that the themes and doctrines of the intellectual party of the counter-revolution, of emigration, and of Senancour led to Liszt’s use of instrumental recitativo, of French and Italian indications to the performer expressing the mal du siècle and the “negative sublime,” and of a harmonic system extended to the twelve tones Ernő Lendvai called in the 1950s the axis system, in reference to Bartók’s music. The influence of the romantic “humanitarian” literary current is presented in the area of Liszt’s formal conception and use of isotopies. From the synthesis of the narrative strategies, including some of Liszt’s major compositions, it becomes obvious that there is a simple model, invariably going through four stages or thematic complexes (Vallée d’Obermann), which is extended with two or three further isotopies in the case of longer pieces.
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Woodhouse, J. R., and Patrick Boyde. "Night Thoughts on Italian Poetry and Art." Modern Language Review 81, no. 2 (April 1986): 505. http://dx.doi.org/10.2307/3729773.
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Lindon, John, and Deirdre O'Grady. "Alexander Pope and Eighteenth-Century Italian Poetry." Modern Language Review 85, no. 1 (January 1990): 213. http://dx.doi.org/10.2307/3732870.
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Vitiello, Justin. "Translating the Contemporaneity of Neodialect Italian Poetry." Forum Italicum: A Journal of Italian Studies 35, no. 2 (September 2001): 498–506. http://dx.doi.org/10.1177/001458580103500213.
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ROBEY, D. "Analysing Italian Renaissance Poetry: the Oxford Text Searching System." Literary and Linguistic Computing 5, no. 4 (October 1, 1990): 310–13. http://dx.doi.org/10.1093/llc/5.4.310.
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Pratt, T. M., and Patrick Brady. "Rococo Poetry in English, French, German, Italian: An Introduction." Modern Language Review 90, no. 3 (July 1995): 722. http://dx.doi.org/10.2307/3734327.
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Garcia Busquets, Anna. "A primera sang: batalles nupcials en la Catalunya barroca. Els epitalamis al galant Alba de Francesc Fontanella." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (December 6, 2017): 229. http://dx.doi.org/10.7203/scripta.10.11081.
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Resum: A l’antiga Grècia i Roma els epitalamis actuaven com a preludi eròtic de la nit nupcial. Claudià, a l’antiguitat tardana, va tractar el motiu del desflorament com a pugna amoris amb lasciu refinament. A partir del Quattrocento italià, l’Europa moderna va reprendre amb profusió aquesta tradició laudatòria d’erotisme estilitzat amb cants consagrats a la unió de les famílies il·lustres. El poeta barroc Francesc Fontanella (1622-1682/83) va compondre quatre magnífics epitalamis dedicats a les noces d’un enigmàtic personatge: el ‘galant Alba’. Diversos estudis han intentat, sense èxit, desvelar-ne la identitat. En aquestes composicions, Fontanella va emprar un llenguatge refinat i metafòric per descriure gradualment els estadis que porten a la unió carnal entesa com a lluita amorosa: els versos, rics en imatges florals i minerals, s’han de reconvertir al seu sentit concret a través d’una doble lectura. L’estudi inclou l’edició crítica dels textos i la contextualització del cicle dins del corpus epitalàmic europeu, així com una argumentació sobre la possible identitat dels protagonistes. Paraules clau: literatura catalana moderna; poesia barroca; epitalami; Francesc Fontanella Abstract: In ancient Greece and Rome, epithalamia acted as an erotic prelude to the wedding night. In Late Antiquity, Claudian explored the theme of deflowering as pugna amoris with lascivious refinement. As of 15th century Italian poets, modern Europe recommenced this laudatory tradition of stylised eroticism with songs devoted to the union of illustrious families. The Baroque poet Francesc Fontanella (1622-1682/3) composed four magnificent epithalamia dedicated to the wedding of an enigmatic character: ‘gallant Alba’, of whom several studies have tried, unsuccessfully, to reveal his identity. In these compositions, Fontanella employed refined, metaphorical language to gradually describe the stages of carnal union understood as a love battle: the verses, rich in floral and mineral imagery, must be transformed into their particular meaning through double reading. The study includes the critical edition of the texts and a contextualisation of the series within the European corpus of epithalamia, as well as an argument on the possible identity of the protagonists. Keywords: Early modern Catalan literature; Baroque poetry; epithalamium; Francesc Fontanella
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Gillespie, Stuart. "Manuscript Translations of Italian Poetry, c.1650–1825: A Miscellany." Translation and Literature 28, no. 1 (March 2019): 44–67. http://dx.doi.org/10.3366/tal.2019.0369.
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This is a presentation of fourteen English verse translations which have never previously been printed, transcribed from a range of extant manuscripts. The translators are mainly little-known figures. Italian authors translated include Dante, Petrarch, Tasso, Guarini, Metastasio, and Manfredi. The selection is intended to suggest how further archival research might make more visible the extensive history of amateur translation of classic and contemporary Italian poetry in English, and how far from routine its products can be.
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Serra, Ilaria. "Geography of Absence: Abandoned Places and Italian-American Poetry." Forum for Modern Language Studies 54, no. 4 (October 1, 2018): 419–42. http://dx.doi.org/10.1093/fmls/cqy044.
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Garzonio, Stefano. "Механизмы переложения "на наши (русские) нравы" итальянских оперных либретто [Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos]." Sign Systems Studies 30, no. 2 (December 31, 2002): 629–44. http://dx.doi.org/10.12697/sss.2002.30.2.16.
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Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos. The paper deals with the history of poetical translation of Italian musical poetry in the 18th century Russia. In particular, it is focused on the question of pereloženie na russkie nravy, the adaptation to national Russian customs, of Italian opera librettos, cantatas, arias, songs and so on. The author points out three different phases of this process. The first phase, in the 1730s, coincides with the reign of Anna Ioannovna and it is linked to Trediakovsky’s translations of Italian intermezzos, comedies and to the first opera seria, La forza dell’amore e dell’odio (‘The force of love and hate’, 1736) by F. Araja and F. Prata; the second phase, in the period 1740–1770s, is characterized by a very varied production of translations and imitations, which undoubtedly influenced the general developing of Russian musical and dramatic poetry. It is during this period that pereloženie na russkie nravy is introduced into dramatic genres and sometimes it is findable in musical poetry as well. The third phase, in the 1780–1790s, is linked with the activity of such poets-translators as Ivan Dmitrevskij, Michail Popov, Vasilij Levšin and is characterized by the new practice of performing operas in Russian translations. In the paper the different forms of pereloženie na russkie nravy are pointed out, starting from the formal niveau of metrics and stylistics up to the adaptation of themes, places and realia.
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Morgan, Leslie Zarker. "Evidence of Oral Interference in Franco-Italian." Canadian Journal of Linguistics/Revue canadienne de linguistique 30, no. 4 (1985): 407–14. http://dx.doi.org/10.1017/s0008413100011221.
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The four lexemes bragagner, sberna, seterer and smenaventure are problematic within the text of Ms. marc. fr. 13 since the forms differ from those of any other texts of the time (with the exception of other Franco-Italian texts in the case of bragagner). I will show that the points of difference are phonological and morphological changes resulting from interference patterns with spoken Italian.Manoscritto marciano francese 13 (St. Mark’s manuscript 13 of the French collection) is an untitled anonymous manuscript from the first half of the 14th century at St. Mark’s Library in Venice. It contains eight chansons de geste. These are the first written versions of Old French epic poetry produced in Italy; that is, they are not copies of Old French manuscripts.
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Vasileva, E. V. "Poetic World in Dante Alighieri’s Divine Comedy." Язык и текст 8, no. 1 (2021): 35–40. http://dx.doi.org/10.17759/langt.2021080104.
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In 2021, is celebrated the 700th anniversary from the death of the brilliant Italian poet.The purpose of this article is to reveal certain features that define Dante Alighieri's "Divine Comedy". We will analyse such features of his poem as numerical symbolism, landscape and metaphorical language.
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Danesi, Marcel. "Dialect Poetry and WELTANSCHAUUNG: Haller's Contribution to Italian Linguistic and Literary Culture." Forum Italicum: A Journal of Italian Studies 23, no. 1-2 (March 1989): 326–31. http://dx.doi.org/10.1177/001458588902300141.
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ZIMMERMAN, PHYLLIS. "SOME LINES OF ITALIAN POETRY IN THE INTRODUCTION TO THE LAST MAN." Notes and Queries 37, no. 1 (March 1, 1990): 31–32. http://dx.doi.org/10.1093/nq/37-1-31.
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Samardžic, Mila. "ORA FROM TEMPORALITY TO TEXTUALITY: A CASE OF GRAMMATICALIZATION." Folia linguistica et litteraria XII, no. 35 (2021): 259–73. http://dx.doi.org/10.31902/fll.35.2021.13.
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Although it is just a "little word", ora manifests a particular multiplicity and complexity in uses and meanings. In addition to the noun, in its uses it presents values ranging from the strictly temporal one (at this instant, in the present epoch, a little while ago, shortly, from this moment onwards etc.) to the interjective one (when it reinforces an exhortation or a command). Finally, it is used with textual value to resume an interrupted speech (with possible further values: conclusive or adverse). In short, the values of ora can be distinguished in the propositional one (temporal adverb), in the illocutionary one (when the relationship with the interlocutor is established) and in the argumentative one (textual connective). In this article we intend to present an overall picture of the contexts (syntactic and pragmatic) in which ora appears. Based on the analysis of the examples taken from the most relevant works of Italian lexicography as well as from various written texts of poetry and prose in ancient Italian language (mainly from the twelfth and fourteenth centuries) we will try to reconstruct the process of grammaticalization and semantic change and/or semantic emptying from the original temporal meaning to subsequent textual values. After analyzing the contextualized uses of ora, we have reconstructed its functional and semantic change. In the case of ora, the shift and / or semantic emptying has occurred: from its primary temporal value (at the phrasal level, therefore with a purely adverbial function), ora assumes a syntactic or better textual role. It becomes a "signal of articulation" or "demarcation" as it demarcates the internal structure of the text and indicates the change of theme by finding an ascending pitch at the beginning of the paragraph. Berretta classifies it as a textual and non-temporal demarcation. Its degree of semanticity is connected to the fact that, unlike those connectives that make explicit a precise semantic relationship between parts of text (as in fact or in conclusion), the connective ora does not have this function but simply expresses a continuation relationship, contributing equally to structure the text within it. From the examples examined, it appears that pragmatic-textual ora can signal an introduction or presentation (of a new theme), the transition between parts of the action (or the turning point of the story), the argumentative conclusion or distinguish two moments of the narrative. Considering that the degree of explicitness is still quite low, ora tends to combine into sequences (Ora invece i nostri telegiornali), unlike the more complex forms that allow the insertion of other connectives within them. Both phenomena seem to be brought back to a general principle of embedding or recursion, if it is true, as it seems, that the juxtaposed or inserted connectives connect pieces of text - 'conjoined', different and / or of different amplitude. So ora connects the following to the previous unit: it introduces a new topic / theme / question by acting as a bridge between two units of the text. Examining the passage from the adverb of time to the textual connective we can take into consideration Berretta's thesis that "the distinction between the semantic or propositional or referential level (the facts we are talking about) and the pragmatic or textual or discursive level (where no facts are relevant as much as talking about them) is largely intuitive” (246). Unlike the relationships of a factual nature (such as the temporal collocation of events) which are the object of the discourse and which are based on encyclopedic notions, the use of time presupposes the intervention of the speaker / writer in the organization of his speech (signaling the resumption of an interrupted speech or a new orientation or a change in the theme of its text). The main argument to argue that ora, in some contexts, is a real discursive signal lies in the fact that ora, like some other textual connectives, shows syntactic autonomy tending to place itself at the beginning of a sentence (or, more often, paragraph, as reported in the various examples) and is frequently followed (or preceded) by a pause. Furthermore, it is impossible: to subject it to negation Non ora invece i nostri telegiornali), while the negated form is acceptable when ora acts as an adverb of time (Se non ora, quando?); to topicalize it (with the formula è… che; the thing becomes possible when ora is not pragmatic-textual but semantic-temporal: è ora che impari a vivere); to modify it with adverbs, while it is possible when ora is temporal adverb and not a connective (Mi dispiace lasciarti proprio ora). With this paper we have tried to highlight some properties of the grammaticalization of ora and the analysis of its semantic change: from an adverb of time with the meaning now, in this instant, it has taken on the textual function of a discursive signal. We first established when and how this change took place by practically going back to the origins of poetry and prose in the vernacular. The semantic change that characterizes the grammaticalization of ora is of a metonymic type and arises from pragmatic inferences in specific contexts. The pragmatic inferences underlying semantic change normally entail a progressive abstraction and subjectivization of the original (temporal) meaning, which in other words acquires a value further away from the starting concrete and objective referent and more oriented towards the speaker's perspective. The path of semantic and functional change takes place in three stages. The first concerns the original meaning (which in turn may be the result of previous grammaticalization processes: ora derives from the Latin ablative of the noun hora. However, this change does not play a role in the evolution of the textual value). The second concerns pragmatic inference (within the semantic and syntactic contexts in which ora can occur, there may be some semantically and structurally ambiguous between the original temporal meaning and a different meaning). In the third stage, the structural and semantic ambiguity disappears and the identification of two different uses with autonomous meanings is achieved. The syntactic context no longer allows an interpretation based on the original temporal meaning: ora can be interpreted only as a discursive signal. In the other syntactic contexts, however, the element systematically maintains the original function and the construction has a temporal meaning.
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Ladha, Hassanaly. "From Bayt to Stanza: Arabic Khayāl and the Advent of Italian Vernacular Poetry." Exemplaria 32, no. 1 (January 2, 2020): 1–31. http://dx.doi.org/10.1080/10412573.2020.1743523.
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Gardini, Nicola. "Linguistic Dilemma and Intertextuality in Contemporary Italian Poetry: the case of Andrea Zanzotto." Forum Italicum: A Journal of Italian Studies 35, no. 2 (September 2001): 432–41. http://dx.doi.org/10.1177/001458580103500208.
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Alborghetti, Claudia. "Italian nonsense verse: rewriting poetry in Alice’s Adventures in Wonderland by Lewis Carroll translated into Italian." Rivista di Storia dell’Educazione 7, no. 2 (December 2, 2020): 75–86. http://dx.doi.org/10.36253/rse-9634.
Full textAbstract:
Alice’s Adventures in Wonderland (1865) was translated in Italy for the first time in 1872 by Teodorico Pietrocòla Rossetti. Since then, it has found fruitful ground in the so-called “creative transposition” (Jakobson, 2002), which makes use of the creative channel to communicate with a lay public that relies on rewritings to approach classic texts (Lefevere, 1992). Rewriters include translators and people who manipulate source texts for economic, political or social reasons. Their work is evidence of the evolution of literature as it brings classic texts down to the level of the common reader, ensuring their survival through time. Alice, a mixture of narrative voice and nonsense poetry, survives through the rewritings aimed at a young public. This paper explores poetry in selected translations of Alice’s Adventures in Wonderland, including Donatella Ziliotto’s translation published by Salani in 2010, Masolino D’Amico’s translation in the children’s literature series of classics published by BUR Ragazzi in 2016, and the modernized re-edition of Silvio Spaventa Filippi’s translation first published in 1913, distributed in a new book series in 2013. The translations analysed have all been published between 1991 and 2016 by different translators and publishing houses. This selection allowed for a mixed methodology of analysis delving into the paratext and poetic language, in order to compare rhythm, structure and rhyme, looking for common aspects but especially divergent approaches as a mark of creativity wishing to release the potential of the poetic verse and mediate it for young readers.
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Wright, G. "The Molesworths and Arcadia: Italian Poetry and Whig Constructions of Liberty 1702-28." Forum for Modern Language Studies 39, no. 2 (April 1, 2003): 122–35. http://dx.doi.org/10.1093/fmls/39.2.122.
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Ceallacháin, É. Ó. "'Puttane a Brigate': The Topos of Prostitution In Early-Twentieth-Century Italian Poetry." Italian Studies 60, no. 2 (October 2005): 196–220. http://dx.doi.org/10.1179/007516305x60179.
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Nuessel, Frank. "Review of Serrao, Bonaffini & Vitiello (1999): Via Terra. An Anthology of Contemporary Italian Dialect Poetry." Language Problems and Language Planning 24, no. 2 (December 1, 2000): 212–14. http://dx.doi.org/10.1075/lplp.24.2.11nue.
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