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Books on the topic 'Translated from Italian'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Scotellaro, Rocco. Rocco Scotellaro (1923-1953): Poems translated from the Italian. Morning Star Publications, 1993.

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2

D'Orta, Marcello. [In Afrika lst immer August]. [S.n.], 2000.

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3

Fulvio, Tomizza. Materada: Fulvio Tomizza ; translated from the Italian by Russell Scott Valentino. Northwestern University Press, 2000.

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4

Echoes of memory: Selected poems of Lucio Mariani ; translated from the Italian by Anthony Molino. Wesleyan University Press, 2003.

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5

Varthema, Lodovico de. The itinerary of Ludovico di Varthema of Bologna from 1502 to 1508 as translated from the original Italian edition of 1510. Asian Educational Services, 1997.

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6

Eco, Umberto. Turning back the clock: Hot wars and media populism / Umberto Eco ; translated from the Italian by Alastair McEwen. Harcourt, 2007.

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7

Fortunati, Leopoldina. The arcane of reproduction: Housework, prostitution, labor and capital / Leopoldina Fortunati ; translated from the Italian by Hilary Creek ; edited by Jim Fleming. Autonomedia, 1995.

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8

spy, Turkish. An exerpt from the third volume of Letters writ by a Turkish spy who lived five and forty years, undiscover'd, at Paris: In this letter our spy writes on the ill consequences of printing in Europe : written originally in Arabick, translated into Italian, and from thence into English, by the translator of the first volume : from the fifth edition, London, MDCCIII. Eden Press, 1985.

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9

Foscolo, Ugo. A translation from Italian into English of Ugo Foscolo's Le Grazie (The Graces) = tempio eretto e poema scolpito in parole: 'le grazie' di Ugo Foscolo: Nuova versione inglese annotata con introduzione e note : translated, with introduction and notes. Edwin Mellen Press, 2013.

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10

Rockstro, Richard Shepherd. A treatise on the construction, the history and the practice of the flute, including a sketch of the elements of acoustics and critical notices of sixty celebrated flute-players: The greater part of the biographical information collected and the whole of the extracts from the German and the Italian translated by Georgina M. Rockstro. Frits Knuf, 1986.

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11

Gender and ideology in translation: Do women and men translate differently? : a contrastive analysis from Italian into English. Lang, 2007.

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12

1893-1930, Ricci Aldo, and Benedetto Luigi Foscolo, eds. The travels of Marco Polo: Translated into English from the text of L.F. Benedetto. Asian Educational Services, 2001.

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13

Colavero, Enrica, ed. Fiorentini abusivi. Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-720-1.

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Through a precious labour of retrieval, transcription and the attentive and painstaking annotation of an unpublished correspondence made up of 311 pieces, Enrica Colavero gives voice to two important and retiring Italian poets of the later twentieth century: Francesco Tentori (1924-1995) and Ercole Ugo D'Andrea (1937-2002), the last impassioned witnesses and disciples of hermeticism. Tentori was a major translator of Spanish and Spanish-American poets and novelists; it was he who introduced Borges into Italy. Before settling permanently in Rome, he established close ties with Florence, in particular with the groups of intellectuals (writers and critics, but also painters) who frequented the Gabinetto Viessuex and the Caffè Paszkowski. D'Andrea too was a Florentine by adoption, in view of his passion for hermeticism, but he instead chose the isolation of Galatone, in the extreme south of Puglia, where he devoted himself intensively to his studies. From the readings presented in this book the centrality of culture emerges, but also the hopes and delusions of two unorthodox, unquiet intellectuals, seeking the time and the meaning of a life devoted entirely to addressing and serving art.

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14

Valentina/Translated from Italian (Valentina). Nbm Pub Co, 1991.

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15

Micheletti, Emma. Velbazquez (Translated from the Italian By Rosalind Hawkes). Thames & Hudson, 1989.

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16

An Italian Straw Hat (Drama Classics). Nick Hern Books, 2001.

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17

Segneri, Paolo. Twelve Sermons from the Quaresimale of P. Paolo Segneri: Translated from the Original Italian. HardPress, 2020.

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18

P, Pagnini, ed. Prophylaxis of Newcastle disease: Study on an inactivated vaccine in oily adjuvant :translated from Italian. Saad Publications, 1987.

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19

Ariosto, Lodovico. Orlando Furioso : Translated from the Italian of Ludovico Ariosto; with Notes: By John Hoole. in Five Volumes. HardPress, 2020.

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20

Bruno, Giordano. Spaccio della bestia trionfante. Or the expulsion of the triumphant beast. Translated from the Italian of Jordano Bruno. Gale ECCO, Print Editions, 2010.

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21

Siege of Vienna by the Turks In 1683: Translated into Greek from an Italian Work Published Anonymously in the Year of the Siege. University of Cambridge ESOL Examinations, 2015.

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22

Rhodes, Neil. Vulgar Italian and the Elizabethan Short Story. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198704102.003.0006.

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Early in the sixteenth century, Italy came to represent the cultural vanguard in Europe both in terms of new ideas and in offering a literary model of the vernacular. English visitors to Italy such as William Thomas and William Barker saw this in action at the Accademia Fiorentina where Giovanni Gelli lectured on Dante. The academy itself is a model for the principle of ‘vulgarization’ set out in the preface to Hoby's Courtier. This is put into practice in the first short-story collection in English, William Painter's Palace of Pleasure, which takes Boccaccio as its stylistic authority and in its tales of transgression acts as a primer of social possibility for English readers. These translations from Italian would themselves be translated for the stage, and two of the many spin-offs from Painter, by George Whetstone and George Pettie, point in the direction of the public and private theatres respectively.

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23

Moretti, Carlo. Venice. Her Art-Treasures and Historical Associations: A guide to the city and the neighbouring islands, translated and compiled from the first Italian edition. Adamant Media Corporation, 2001.

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24

Marana, Giovanni Paolo. Eight Volumes of Letters Writ by a Turkish Spy : Who Liv'd Five and Forty Years Undiscover'd at Paris: ... Written, Originally, in Arabick, Translated into Italian, from Thence into English:. HardPress, 2020.

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25

Macdonnel, D. E. Dictionary of Quotations, from the Latin, French, Greek, Spanish, and Italian Languages: Also Including Maxims, Proverbs, Law Phrases, Family Mottoes, & C. , Carefully Translated into English, with Illustrations, Historical and Idiomatic. HardPress, 2020.

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26

Fo, Alessandro. Limiting Our Losses. Translated by Jelena Todorovic and Susanna Braund. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810810.003.0029.

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In this chapter (translated and reprinted here with kind permission), the arduous path of challenges faced by one of Virgil’s translators is mapped out with painstaking detail. Alessandro Fo, author of a recent translation of the Aeneid into Italian, offers an account of the main principles and criteria he adopted in approaching his task. From a metrical point of view, the translator opted for the ‘barbaric’ hexameter, striving to render the rhythmic flexibility of Latin verse. At a stylistic level, he decided to stick as close as possible to the epic and elevated (at times even alienating) diction of Virgil’s poem, without attempting to ‘gloss’ solemn coinages, metaphors, or enallagē for the Italian reader. After acknowledging his inescapable debt to previous Italian translators of the Aeneid, the author highlights his effort to situate his translation among those ‘oriented towards the source text’ without undermining its readability.

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27

Bracciolini, Poggio. India in the Fifteenth Century: Being a Collection of Narratives of Voyages to India, in the Century Preceeding the Portuguese Discovery of the Cape of Good Hope; from Latin, Persian, Russian, and Italian Sources, Now First Translated into English. HardPress, 2020.

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28

Targoff, Ramie. Passion. Edited by James Simpson and Brian Cummings. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199212484.013.0032.

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During the Renaissance, erotic love emerged as a favorite theme of Italian intellectuals. From the Neoplatonic treatises of Marsilio Ficino and Pico della Mirandola, to the works of Petrarch and Dante, the paintings of Botticelli and Raphael, thetrattati d’amore(treatises of love) by Pietro Bembo and Leone Ebreo, the learned commentaries on the sonnets of Michelangelo and Lorenzo de Medici, or the medical writings on lovesickness, Italy’s obsession with the subject of love was evident. Italian poets such as Dante were particularly preoccupied with the female beloved, whom they typically idealized as a kind of angelic lady (donna angelicata), a heavenly character, rather than an object of sensual appetite and affection. Thomas Wyatt translated Petrarch’s sonnets, includingRime Sparse, by stripping from them one of their most fundamental features: the idea that erotic love could transcend the beloved’s death. This article examines Wyatt’s erotic poetry, how his Protestantism influenced his translations of Petrarchan lyrics, and his attitude toward Neoplatonism.

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29

Preston, Katherine K. Emma Abbott, the “People’s Prima Donna”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371655.003.0006.

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The focus of this chapter is the most successful grand opera company of the decade, the troupe of Emma Abbott. This prima donna was thoroughly trained in the Italian school and performed primarily translated versions of the same continental repertory mounted by companies like James Mapleson’s. A self-made woman who thoroughly understood marketing, Abbott created a new audience of middle-class American opera lovers by providing an entertainment-oriented middlebrow style of opera that was located on the operatic continuum somewhere between comic or light opera and the socially or culturally elite foreign-language styles performed in Italian or German. Her goals, however, were antithetical to some establishment critics who wanted to remove opera from the world of popular entertainment; they dismissed her as a charlatan who enjoyed “popular” rather than “artistic” success. Despite their efforts, Abbott was extremely popular, financially successful, and tremendously influential on American musical culture during the 1880s.

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30

Jonsson, Herbert, Lovisa Berg, Chatarina Edfeldt, and Bo G. Jansson, eds. Narratives Crossing Borders: The Dynamics of Cultural Interaction. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.

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Which is the identity of a traveler who is constantly on the move between cultures and languages? What happens with stories when they are transmitted from one place to another, when they are retold, remade, translated and re-translated? What happens with the scholars themselves, when they try to grapple with the kaleidoscopic diversity of human expression in a constantly changing world? These and related questions are, if not given a definite answer, explored in the chapters of this anthology. Its overall topic, narratives that pass over national, language and ethnical borders include studies about transcultural novels, poetry, drama and the narratives of journalism. There is a broad geographic diversity, not only in the anthology as a whole, but also in each of the single contributions. This in turn demand a multitude of theoretical and methodological approaches, which cover a spectrum of concepts from such different sources as post-colonial studies, linguistics, religion, aesthetics, art and media studies, often going beyond the well-known Western frameworks. The works of authors like Miriam Toews, Yoko Tawada, Javier Moreno, Leila Abouela, Marguerite Duras, Kyoko Mori, Francesca Duranti, Donato Ndongo-Bidyogo, Rībi Hideo, and François Cheng are studied from a variety of perspectives. Other chapters deal with code-switching in West-african novels, border-crossing in the Japanese noh drama, translational anthologies of Italian literature, urban legends on the US-Mexico border, migration in German children's books, and war trauma in poetry. Most of the chapters are case studies, and may thus be of interest, not only for specialists, but also for the general reader.

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31

Leonardi, Vanessa. Gender and Ideology in Translation : - Do Women and Men Translate Differently?: A Contrastive Analysis from Italian into English. Lang AG International Academic Publishers, Peter, 2012.

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32

Joan Antida Thouret: When God Was the Voice of the Poor. Joel Brody Translator from the Italian. New City Pr, 1985.

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33

Marrone, Gaetana. The Cinema of Francesco Rosi. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190885632.001.0001.

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Francesco Rosi’s work, which includes an impressive number of individually celebrated films, occupies a unique place in postwar Italian, indeed postwar world, cinema. Over the years, Rosi has offered films that trace an intricate path between the real and the fictive, the factual and the imagined. His films show an extraordinarily consistent formal balance while representing historical events as social emblems that examine, shape, and reflect the national self. They rely on a labyrinthine narrative structure, in which the sense of an enigma replaces the unidirectional path leading ineluctably to a designated end and solution. The truth itself, so fragmented and confused, may never be discovered. Rosi’s logical investigations are conducted by an omniscient eye and translated into a cinematic approach that embraces the details of material reality with the panoramic perspective of a dispassionate observer. This study addresses Rosi’s films as mosaics fashioned out of “clips” collected from the various stages of production, most specifically from the director’s own archival materials. It examines Rosi’s creative use of film as document (and as spectacle). This is, inevitably then, a study of the specific cinematic techniques that characterize Rosi’s work and that visually, compositionally, express his vision of history and the elusive “truth” of past and present social and political realities.

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34

China in Venice: From the Han dynasty to Marco Polo : catalogue edited by the Museum of Chinese History in Peking, the Seminar of Chinese Language and Literature of the University of Venice, the Italian Institute for the Middle and Far-East (IsMEO) ; Chinese texts translated by Magda Abbiati and Mario Sabattini ; explanatory panels by Roberto Ciarla ; English translations by Dorothy Hay and Jacqueline De Diana. Electa, 1986.

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