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Journal articles on the topic 'Translations into Italian'
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Porkhomovsky, Victor Ya, and Olga I. Romanova. "Names of God in Vulgate and the Italian translations of the Old Testament." RESEARCH RESULT Theoretical and Applied Linguistics 7, no. 3 (October 1, 2021): 40–55. http://dx.doi.org/10.18413/2313-8912-2021-7-3-0-4.
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The present publication expands the analysis of the Old Testament translations into different languages. This line of studies was initiated by the works of the late French scholar Philippe Cassuto and one of the authors of this publication. The purpose of the article is to look at the strategies applied in translating the Old Testament names of the Supreme Being into Latin (the Vulgate version) and modern Italian. This purpose is two-fold: by doing so, we also expand the data base of the Old Testament terms‘ renditions in different languages. The article provides the full nomenclature of the names of the Supreme God in the Old-Hebrew (Masoretic) text of the Old Testament, concentrates on their semantics and grammatical structure, and explains the contexts of their use. A canonical Russian-language translation is used as a reference base to illustrate the fate of the original names of the God in translation. The widely-accepted English-language translations of the Old Testament are included to provide a broader perspective on translation strategies applied to this particular aspect of the Old Testament texts. The analyzed Latin and six modern Italian-language translations demonstrate a considerable degree of uniformity in translating the names of God. The Latin and the Italian translations apply the philological strategy to translating the Holy Bible (as opposed to another option presented by the typology of the Bible translation – the ideological strategy). Notwithstanding the relative lexical uniformity of the translations, they demonstrate the differences between Catholic and Protestant versions. The analysis of the Italian translations of the Old Testament contributes to the typology of the Bible translation and ultimately makes an input to the general theory of translation.
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Porkhomovsky, Victor Ya, and Olga I. Romanova. "Names of God in Vulgate and the Italian translations of the Old Testament." RESEARCH RESULT Theoretical and Applied Linguistics 7, no. 3 (October 1, 2021): 40–55. http://dx.doi.org/10.18413/2313-8912-2021-7-3-0-4.
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The present publication expands the analysis of the Old Testament translations into different languages. This line of studies was initiated by the works of the late French scholar Philippe Cassuto and one of the authors of this publication. The purpose of the article is to look at the strategies applied in translating the Old Testament names of the Supreme Being into Latin (the Vulgate version) and modern Italian. This purpose is two-fold: by doing so, we also expand the data base of the Old Testament terms‘ renditions in different languages. The article provides the full nomenclature of the names of the Supreme God in the Old-Hebrew (Masoretic) text of the Old Testament, concentrates on their semantics and grammatical structure, and explains the contexts of their use. A canonical Russian-language translation is used as a reference base to illustrate the fate of the original names of the God in translation. The widely-accepted English-language translations of the Old Testament are included to provide a broader perspective on translation strategies applied to this particular aspect of the Old Testament texts. The analyzed Latin and six modern Italian-language translations demonstrate a considerable degree of uniformity in translating the names of God. The Latin and the Italian translations apply the philological strategy to translating the Holy Bible (as opposed to another option presented by the typology of the Bible translation – the ideological strategy). Notwithstanding the relative lexical uniformity of the translations, they demonstrate the differences between Catholic and Protestant versions. The analysis of the Italian translations of the Old Testament contributes to the typology of the Bible translation and ultimately makes an input to the general theory of translation.
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Starowicz, Aleksandra. ""Z ziemi włoskiej do Polski". Staropolskie przekłady dramaturgii włoskiej." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 235–40. http://dx.doi.org/10.24917/20811853.17.20.
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From Italy to Poland. Old Polish translations of Italian dramaAbstractThe text discusses the most important problems raised in Jadwiga Miszalska’s book The Songof the Tragic Playthings Teaches us Virtue: Translations from Italian as a Source for PolishSerious Drama till the end of the 18th Century (Kraków, 2013). The author drew attention tothe place that the translation from Italian takes in the Polish culture and literature and notedthe fact, that choice of texts for translation, the way of reading, the changes to which thetranslators of the Italian dramaturgy decided have become a source of knowledge about thehistory of literature, literary trends and reading (and scenic) expectations of the time.Keywords: literary translation, Italian drama, Polish translations
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Ulozienė, Paulina, and Aurelija Leonavičienė. "Comparative Analysis of the Use of Lexical Analytical Constructions and their Translation into Lithuanian in Italian and French Literary Texts." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 175–204. http://dx.doi.org/10.2478/sm-2020-0009.
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SummaryThe intensification of research on Lithuanian translations of Italian literature and Italian translations of Lithuanian literature over the past twenty years is paralleled by the growth of interest in Italian literature in Lithuania. However, the existing research on diverse linguistic and cultural characteristics of texts translated from Italian into Lithuanian and vice versa has been sporadic, thus leaving much to be done to uncover links between the two languages and identify translation-related issues. The present article looks into one of the issues, namely, the lexical analytical construction of the Italian language and its translation into Lithuanian. Fictional texts by two representative Italian contemporary writers, Alesandro Baricco and Umberto Eco are chosen as a source of data including over three thousand pages of the source language (SL) and the target language (TL) texts. The results are compared with similar studies on translation of French literary texts into Lithuanian. The study on the translation of lexical analytical constructions in Italian literary texts translated into Lithuanian uses the theoretical framework and methodology provided by the Italian School of Semiotic Translation represented by Umberto Eco and Bruno Osimo among others. The study adopts a holistic approach to the analysis of lexical analytical constructions in Lithuanian translations of Italian literature. Comparative quantitative study has revealed three translation strategies: reformulation, translation without changes and remodelling. Reformulation has been identified to be the most frequent translation strategy. Its frequency was five times higher than that of translation without changes. The latter strategy was twice more frequent than the strategy of remodelling, which, accounts for less than ten per cent of all translation cases. Uses of calque or omission as translation strategies were not found. Comparison of quantitative results regarding the distribution of translation strategies adopted in the Lithuanian translations of Italian and French literary texts and a qualitative analysis of examples revealed similar tendencies in translation choices. It is important to note that changes of lexical analytical constructions into noun constructions were one and a half times less frequent in the translations of Italian literature than in the translations of French literature. Italian and French lexical analytical constructions were replaced by noun constructions in cases when in the SL text these constructions designated object and result but not action. Thus, it can be assumed that lexical analytical constructions in French literary texts were relatively more frequent than those in Italian literary texts.
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Derchi, Chiara-Camilla, Pietro Arcuri, Angela Comanducci, Antonio Caronni, Chiara Pagliari, Alessandro Viganò, Eleonora Volpato, Jorge Navarro, and Pietro Davide Trimarchi. "Italian translation and cultural adaptation of the Agitated Behavior Scale (ABS-I) in patients with acquired brain injuries." Journal of Rehabilitation Medicine 56 (April 4, 2024): jrm11663. http://dx.doi.org/10.2340/jrm.v56.11663.
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Objective: The objective of this study was to produce a cross-cultural adaptation in Italian of the Agitated Behavior Scale (ABS), originally developed in English, as the first of two stages that also include cross-cultural validation and allow a clinical scale to be used in the proper setting such as rehabilitation units. Methods: In order to adapt the ABS scale to a different cultural environment, five consecutive steps were performed: (1) forward translations (n = 8), (2) synthesis of the 8 forward translations to obtain a first shared italian version (ABS_I_trial), (3) back translations (n = 3), (4) creation of an expert committee to evaluate forward and back translations and finally (5) the cognitive debriefing. Results: After the five steps, including forward translations and back translations, the process of committee verification and judgement and the evaluative step of cognitive debriefing, high comprehensibility of all items was found, resulting in an Italian translation version of ABS suitable for application in a clinical setting. Conclusion: ABS translation was produced by means of a standardized procedure aimed at minimizing cross-cultural gaps. The expert committee evaluated the version produced as highly understandable in Italian. Further steps, such as the subsequent validation of its psychometric properties, are needed to employ this translation in a clinical setting.
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Porkhomovsky, Victor, and Olga Romanova. "Anthropomorphisms in Italian versions of the Bible." Rodnoy Yazyk. Linguistic journal, no. 1 (June 2021): 351–67. http://dx.doi.org/10.37892/2313-5816-2021-1-351-367.
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The present article deals with a typology of translation strategies used by Italian-language versions of the Old Testament. The research focuses on anthropomorphisms, a lexical group of primary importance for the study of Bible translations. Two translation strategies have been postulated in the authors’ previously published works on the subject. The philological strategy aims at a verbatim rendering of the text of the Hebrew Bible in a translation, while the ideological strategy allows for the elimination of certain anthropomorphisms. In this article we analyze these two strategies in translating anthropomorphisms from Biblical Hebrew into Italian.
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Ryzhik, Michael. "Preliminaries to the Critical Edition of the Judeo-Italian Translation of the Siddur." Journal of Jewish Languages 1, no. 2 (2013): 229–60. http://dx.doi.org/10.1163/22134638-12340015.
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Abstract This article analyzes five translations of the siddur (‘prayer book’) into Judeo-Italian. Three of the versions are manuscripts from the 15th century, one is the printed 1506 Fano edition, and the last is a manuscript from the 17th century. A common tradition underlies all of these translations and has much in common with Judeo-Provençal translations; this likely represents an ancient Judeo-Romance tradition of translation, which expresses itself differently in each manuscript. The 17th-century translation displays northern linguistic features; it is more Toscanized and normalized than the four other translations and has lost many typical traits of “classical” Judeo-Italian. The 15th-century translations also differ from one another in their spelling, phonology, morphology, vocabulary, and syntax. The main reason for this great variety seems to be the fact that the common old tradition prescribed only the general lines of translation. The biblical passages such as the Shema‘ Israel, are translated in a much more standardized way, but these passages nevertheless retain peculiarities. It therefore seems that a synoptic edition rather than a critical one must be made, in order to describe and analyze the different variations of the Judeo-Italian translations.
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Ghiselli, Serena. "A quantitative analysis of racist epithets referring to Italians and their translations in movie subtitles: The case of wop, eyetie and goombah." Cadernos de Tradução 44, esp. 2 (June 12, 2024): 1–18. http://dx.doi.org/10.5007/2175-7968.2024.e99464.
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Anglophone cultures have had extensive contact with other ethnic groups over the last 200 years and almost always from a position of dominance (Filmer, 2012). In English there are racial slurs for practically every race or ethnic group and swear words are commonly used in English TV dialogues. Translating swear words in movie subtitles pose a translation challenge, which has been studied by scholars such as Soler Pardo (2015), Ávila-Cabrera (2016), Beseghi (2016) and Díaz-Pérez (2020). This paper analyses the translation from English into Italian of wop, eyetie and goombah, three racist epithets used to refer to Italians or people of Italian origin. The data analyzed are taken from the English-Italian parallel corpus of OpenSubtitles (Lison & Tiedemann, 2016), a collection of parallel corpora made up of translated movie subtitles. English subtitles from a variety of movies including these racist epithets are retrieved, together with the corresponding Italian translations, using parallel concordance. The renditions are analyzed with the aim of identifying general trends in the use and in the translation of these racial slurs. In addition, renditions are divided according to moderating variables such as the languages spoken in the film, the film release date, the countries the film was shot in and the genres of the film, to test whether these variables have a significant impact on translation choices.
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Rădulescu, Valentina. "Contrainte et réécriture-création dans la traduction des Exercices de style de Raymond Queneau." Translationes 9, no. 1 (June 1, 2017): 40–54. http://dx.doi.org/10.1515/tran-2017-0002.
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Abstract Our study presents a comparative analysis of selected texts from several translations of Queneau’s Exercices de style: the Romanian version (a collective work coordinated by Romulus Bucur), the English version (Barbara Wright) and the Italian one (Umberto Eco) that illustrate the variable degrees of difficulties in translating. The analysis is meant to confirm our research hypothesis: though disruptive and often hardly surmountable, translation constraint does not stifle translator’s creativity or his fidelity toward the original style; on the contrary, it stimulates the translational process and fosters the rewriting-creation.
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Translators, Multiple. "Translations." ti< 9, no. 1 (March 26, 2020): 37–45. http://dx.doi.org/10.26522/ti.v9i1.2451.
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Tik, Natalia A. "The First Translations of Aleksandr Pushkin’s Eugene Onegin Into Italian." Imagologiya i komparativistika, no. 17 (2022): 60–78. http://dx.doi.org/10.17223/24099554/17/3.
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The article analyses two early translations of Aleksandr Pushkin’s Eugene Onegin into Italian. The first Italian critics of Eugene Onegin in the 19th century (Cesare Boccella, Enrico Montazio, Carlo Tenca) were convinced that the novel was weak and did not deserve to be translated. However, two translations appeared in the 19th century. The first translation of 1856 belongs to Louis Delatre, a Frenchman who assimilated in Italy. Delatre visited Russia, where he met Pyotr Vyazemsky, whose stories about Pushkin inspired Delatre to translate five of Pushkin’s works, including Eugene Onegin. The second translation was published in 1858 under the pseudonym A. B., currently attributed to A. Besobrasoff - Anna Ivanovna Bezobrazova, a Russian noblewoman. Comparing the original and the translations, the author identifies and describes the aspects of the original subject to translation shifts (genre definition, structure, lexical and stylistic levels) and determines the specificity of the early Italian reception of the novel. Louis Delatre. The translation of poetry into prose, the rearrangement of fragments within the text, the reduction of “useless details” (including significant structural elements of the original), the addition of notes, the replacement of Russian realities with Italian equivalents reveal an orientation towards greater clarity and ease of perception. The change in the style of the original and the focus on the Italian literary tradition indicate the identification of a foreign work through the prism of Italian culture. The factors stated above are indicative of the adaptation and orientation towards an unprepared reader, who is not familiar with a foreign culture. Delatre acts within the framework of the historically conditioned norms of translation practice, whose task at this stage is to bring the original closer to the reader, to facilitate his acquaintance with a foreign text. Anna Besobrasoff. On the one hand, the focus on the “plot”, the search for Italian equivalents, the addition of notes and descriptions are also characteristic of a historically conditioned adaptive translation strategy. On the other hand, literal translation, style neutralization, elimination of a specific group of “useless details” are rather typical of the translator’s individual reception, probably a consequence of the student’s goal of translation, the translator’s desire to “practice the beautiful Italian language.” Both translations did not attract the attention of literary criticism and did not significantly influence the formation of the idea of Eugene Onegin in Italy at an early stage. The first Italian translations were more an accident rather than a regularity, since they stemmed from the translators’ personal interest in the novel, rather than a request from the recipient culture. This can be confirmed by the date of the next translation - it appeared only in 1906. The author declares no conflicts of interests.
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Vishnevskaya, Elena A. "Sequence Victimae Paschalis: an experience of comparing translations (English, Italian, Russian)." Vestnik of Kostroma State University 28, no. 2 (May 12, 2022): 168–74. http://dx.doi.org/10.34216/1998-0817-2022-28-2-168-174.
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The article is devoted to the analysis of translations of the medieval Latin sequence Victimae Paschalis into English, Italian and Russian. The texts selected on theological and popularization sites served as the material for the study. They were written during the 20th century and belong to different cultural traditions. The relevance of the study is due to the fact that in our time religious literature is considered as part of the global literary process. In particular, Christian medieval Latin hymnography is considered as part of the corpus of medieval poetic texts. The presence of modern translations into folk languages testifies to the interest in society in this genre. The tasks were to analyze translations and identify translation techniques and tactics, to explore the translation vocabulary, to consider the cultural component of the translations, to explore the texts in question from the point of view of the translators' worldview. The analysis showed that sequence translations reflect different worldview systems and goals, which determined different translation strategies in the given languages.
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Baldo, Michela, Goffredo Polizzi, and Elisa Virgili. "Translating Jack Halberstam's Gaga Feminism and The Queer Art of Failure into Italian: A Conversation." Comparative Critical Studies 20, supplement (October 2023): 100–118. http://dx.doi.org/10.3366/ccs.2023.0497.
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This contribution features a dialogue between three translation practitioners with an interest in queer theory and activism, Michela Baldo, Elisa Virgili and Goffredo Polizzi, on the recent translations into Italian of two works by Jack Halberstam, The Queer Art of Failure (2011), translated by the collective CRAAAZI, to which Goffredo Polizzi belongs, and Gaga Feminism (2012), translated by Elisa Virgili. After introducing these translations and the context in which they came into place, Baldo, Virgili and Polizzi analyse the translation process and the choices made by the translators. The last part of the discussion focuses on the reception of these translations in the Italian context and highlights their importance on the transfeminist scene.
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Acerenza, Gerardo. "Vision(s) de la littérature québécoise en Italie. Révisions nécessaires?" Romanica Silesiana 18, no. 2 (December 28, 2020): 15–29. http://dx.doi.org/10.31261/rs.2020.18.02.
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Literary texts written in French-speaking areas out of France very often represent real challenges for translators, because they have to deal with a diatopically marked language and with a large number of realia which require the implementation of specific strategies for translate in the target language. In this article, we will try to understand the strategies used by Italian translators when translating the linguistic specificities of Quebec literary works in Italian. The practice of translation can orient the vision (or reception) of a Quebec literature in Italy which appears at first sight to be hermetic because of its linguistic regionalisms. Do Italian translations of Quebec literature require revisions?
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Pavlou, Kostis. "Οι γαλλικές σημειώσεις-παραθέματα στα χειρόγραφα των Ελεύθερων πολιορκισμένων και τα πρωτότυπα κείμενα : μια δοκιμή συνανάγνωσης." Neograeca Bohemica, [1] (2023): [41]—65. http://dx.doi.org/10.5817/ngb2023-23-3.
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The apparent or latent French notes-citations in the manuscripts of Solomos's The Free Besieged reveal both the multilingual nature of Solomos as a reader-copyist and the translingual character of his writing process. Relevant to the latter is the fact that Solomos often proceeds in translating the French passages he reproduces into Italian, without necessarily the context revealing the existence of the French original. More specifically, in recording the notes-citations, Solomos exhausts both the monolingual option of copying (French) and the interlingual possibilities of translating word for word into Italian or of faithfully rendering it in a mixed language (French-Italian). The target of this paper is to compare the Italian translations to the French original texts, aiming on the one hand to identify any discrepancies in Solomos's translation options, and on the other, to examine Solomos's interlingual, if not translingual, process of translating as well as the phenomena of code switching and cross-linguistic influence resulting from it.
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Skuza, Sylwia. "Odcienie barwy niebieskiej i zielonej w "Panu Tadeuszu" na przykładzie tłumaczeń na język włoski z 1924 roku (Clotilde Garosci) i z 2018 roku (Silvano De Fanti)." Acta Neophilologica 1, no. XXIII (June 1, 2021): 85–100. http://dx.doi.org/10.31648/an.6227.
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The article aims at analyzing diachronically and synchronously two of the Italian translations of Adam Mickiewicz's epic poem "Pan Tadeusz". The first rendition, dated on the beginning of the 20th century, when the standardized Italian had only began to form, was done by Clotilde Garosci. The second translation was done by Silvano De Fanti in the 21st century. By analyzing the renditions of blue, green and their hues in both translations, the article allows one to follow the words' transformation in the semantic field across the century.
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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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Minskevich, S. L. "Adam Mickiewicz’s strategy in translating Petrarch’s sonnets." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 2 (May 18, 2020): 209–17. http://dx.doi.org/10.29235/2524-2369-2020-65-2-209-217.
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The article examines the VII and X ‘Odessan Sonnets’ by Adam Miсkiewicz, which are translations of the СХІІ and LXI sonnets by Petrarch from the ‘Canzoniere’. A comparative analysis of Polish and Italian texts is carried out. The problem of the loss of VII and X ‘Odessan Sonnets’ by Adam Mickiewicz when translating this cycle into other languages is noted. The study of the translation strategy of Adam Mickiewicz suggests that these sonnets can be considered as original author’s works having intertextual connections with CXII and LXI sonnets of Francesca Petrarch. This circumstance opens up the possibility for translations VII and X ‘Odessan Sonnets’ by Adam Mickiewicz into foreign languages.
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Brzozowski, Jerzy. "Nierząd i inne „grzechy ohydne” w tłumaczeniach Biblii: eufemizacje i retusze w Mt 5,32, Mt 9,19 i Kpł 20,10-21." Między Oryginałem a Przekładem 26, no. 48 (June 15, 2020): 27–42. http://dx.doi.org/10.12797/moap.26.2020.48.02.
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Fornication and Other “Awful Sins” in the Bible Translations. Euphemisms and Alterations on Matt 5:32, 9:19 and Lev 20:10-21
The paper shows confusion of theologians – both catholic and protestant – in all Polish and many other translations of fragments related to sexual relations, especially these contacts which were recognised uniquely as a cause of divorce. The considered translations tend to use archaic, euphemistic or imprecise vocabulary in the main text, adding often confusing and linguistically unacceptable footnotes. On the contrary, the analysed Italian and French translations are clear and intelligible. The Author shows, nevertheless, that the existing translations – not only in Polish, but also in Italian and French – of the Greek word porneia used in the Gospels are incoherent with those in the Old Testament, which is unacceptable. The Author also claims, on the basis of analysed texts, that even the best footnotes cannot replace a clear and intelligible translation in the main text.
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Lobascio, Marco. "Interference in Translation and Simultaneous Interpreting from Italian into English. An Intermodal Analysis of English Genitives in the European Parliament Interpreting Corpus." Across Languages and Cultures 21, no. 2 (December 1, 2020): 265–81. http://dx.doi.org/10.1556/084.2020.00015.
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This article illustrates an intermodal study on simultaneous interpreting and translation from Italian into English based primarily on the European Parliament Interpreting Corpus (EPIC) and official translations from the European Parliament. In line with Gideon Toury’s posited law of interference, the hypothesis that drives the present study is that interpreters and translators working into English from Italian may underrepresent the ’s-genitive as a result of the syntactic asymmetry between English (which alternates between ’s and of) and Italian (which only has one type of prepositional phrase consisting of di + noun). The results of this study indicate that ’s-genitives occur with lower frequency in interpreted English than in non-mediated English, thus revealing a particular form of syntactic interference. The same tendency, however, is not found in translations from Italian into English. This difference is explained by recourse to Englund Dimitrova’s (2005) findings on translation expertise and to the literal translation hypothesis (Chesterman 2011) and by suggesting that simultaneous interpreting tends to adhere to the source-language syntax more closely than translation, thus displaying similarities with translation drafts. The results also point to the theoretical and methodological limitations of the théorie du sens developed by the Paris School of Interpreters and Translators.
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BRANCA, PAOLO. "Italian Translations of the Qur'an." Journal of Qur'anic Studies 2, no. 2 (October 2000): 103–12. http://dx.doi.org/10.3366/jqs.2000.2.2.103.
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Mastropierro, Lorenzo, and Kathy Conklin. "Racism and dehumanisation in Heart of Darkness and its Italian translations: A reader response analysis." Language and Literature: International Journal of Stylistics 28, no. 4 (November 2019): 309–25. http://dx.doi.org/10.1177/0963947019884450.
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This article presents the results of a reader response study of Joseph Conrad’s Heart of Darkness and two of its Italian translations. Specifically, data from an online questionnaire are used to test whether English and Italian readers respond differently to the potential racist implications of the fictional representation of the African natives. Whereas one translator removes completely all occurrences of nigger( s) and negro, the other adds additional uses of the slurs which are not present in the original. We explore with empirical methods whether these translational alterations have an effect on the readers’ perception of dehumanisation, discrimination and racism in the text, comparing responses to each translation with responses to the original. Our findings not only show evidence of significant differences in the responses between one translation and the original but also suggest that other linguistic and extra-linguistic factors could be influencing readers’ response. With this article, we aim to contribute to the under-researched application of reader response approaches to translation studies.
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Lopes, Claudia Valéria Arantes. "Exercício de tradução do português para o italiano da crônica Mineirinho, de Clarice Lispector." Revista Italiano UERJ 13, no. 1 (October 17, 2022): 14. http://dx.doi.org/10.12957/italianouerj.2022.70744.
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RESUMO: Embora não seja uma prática usual, o presente ensaio traz soluções e compensações que um tradutor de língua materna português brasileiro encontra ao verter para o italiano a crônica “Mineirinho”, de autoria de Clarice Lispector, inspirado na morte do inimigo público número um da polícia nos anos 60, chamado José Rosa de Miranda, o Mineirinho. Considerando a natureza do texto, tentou-se transpor para a língua italiana estranhamentos típicos da sintaxe de Clarice Lispector, com resultado que julgamos satisfatório. Além disso, para ilustrar algumas das soluções encontradas, serão destacados trechos em que ambas as traduções divergem.Palavras-chave: Clarice Lispector. Traduções comparadas. Traduzir para língua não materna. Contexto social como instrumento de tradução. Tarefa do tradutor.ABSTRACT: Nonostante non sia una pratica usuale, questo saggio propone soluzioni e compensi che un traduttore, madrelingua portoghese brasiliano, trova nel tradurre in italiano la cronaca, scritta da Clarice Lispector, ispirata alla morte del nemico pubblico numero uno della polizia negli anni 60’ chiamato José Rosa de Miranda, o Mineirinho. Considerata la natura del testo, si è cercato di trasporre alla lingua italiana straniamenti tipici della sintassi di Clarice Lispector, con un risultato che riteniamo soddisfacente. Inoltre, al fine di illustrare alcune delle soluzioni riscontrate, verranno evidenziati stralci in cui entrambe le traduzioni divergono.Parole chiave: Clarice Lispector. Traduzioni a confronto. Tradurre in una lingua non nativa. Contesto sociale come strumento di traduzione. Compito del traduttore. ABSTRACT: Although it is not a usual practice, this essay brings solutions and compensations that a Brazilian Portuguese mother-tongue translator finds when translating into Italian the chronicle “Mineirinho”, by Clarice Lispector, inspired by the death of public enemy number one of the police in the 60s, called José Rosa de Miranda, o Mineirinho. Considering the nature of the text, an attempt was made to transpose typical estrangements of Clarice Lispector's syntax to the Italian language, with a result that we consider satisfactory. In addition, in order to illustrate some of the solutions found, excerpts in which there are divergences between a previous translation and the one proposed will be highlighted.Keywords: Clarice Lispector. Compared translations. Translating into non-native language. Social context as a translation tool. Translator's task.
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Bradas, Marija. "The return of epic formulas in various Italian translations of Kosovka djevojka (The Kosovo maiden)." Balcanica, no. 44 (2013): 139–58. http://dx.doi.org/10.2298/balc1344139b.
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This paper makes a comparative analysis of the various Italian translations of the famous Serbian popular poem Kosovka djevojka [The Kosovo Maiden] and illustrates the different interpretations and consequent translations of epic formulas in nineteenth- and twentieth-century Italy. The Parry-Lord oral formulaic theory, together with other important contributions in the field of oral studies, is a starting point for this analysis, which also takes into consideration the socio-cultural context in which these translations were produced. Translation solutions are therefore brought into relation with the poetics of individual translators and especially with the socio-cultural context of their time. Particular attention is devoted to the centuriesold Italian rhetorical tradition, which influenced even the greatest experts in popular poetry in their interpretation of the figures and clich?s typical of oral production.
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Cerri, Adriano. "TRANSLATING FROM LITHUANIAN INTO ITALIAN: FIVE YEARS AFTER TURIN 2007." Vertimo studijos 6, no. 6 (April 6, 2017): 155. http://dx.doi.org/10.15388/vertstud.2013.6.10552.
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This review deals with the most recent translations from Lithuanian into Italian. It is intended as a sequel to previous works (e.g. Dini 2007b; Dini, Klioštoraitytė 2009). The focus is the years 2008–2012. All the translations which appeared in this period are reviewed with two objectives in mind: a) to update the data; b) to analyse the situation after the 2007 Turin Book Fair, where Lithuania was the guest of honour. The analysis suggests both negative and positive conclusions. Compared to the period 2005–2008, there was a drop in the number of translations. This may have been a natural effect after the rapid growth due to the Fair; however, the drop in translations can be largely attributed to the economic crisis. In fact, the 2011 Bologna Children’s Book Fair did not cause the same surge in the market of translation. Regrettably, some translators who worked in the pre-Turin years have not continued; thus, the small number of translators is currently a problem. On the other hand, there are also positive signs. Several important and highquality translations have appeared recently. The efforts of the few main translators have even increased over the years and, finally, some new translators and new publishing companies are slowly emerging.
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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.
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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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Vassena, Raffaella. "“THE COUNTRY OF A DISTANT AND MYSTERIOUS TRIBE”: RUSSIA AND RUSSIAN LITERATURE IN ITALIAN JOURNALS AND BOOKS FOR CHILDREN (1920–1940S)." Children's Readings: Studies in Children's Literature 21, no. 1 (2022): 109–35. http://dx.doi.org/10.31860/2304-5817-2022-1-21-109-135.
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This article examines translations and adaptations of Russian literature in Italian periodicals and book series for children in the fascist period (1921–1945). By analyzing the repertoire of publications translated from Russian and other languages and comparing it with the repertoire of translations from other foreign literatures, the share of Russian authors is established, the most popular genres and narrative characteristics of Russian texts are identified, the cultural and pedagogical aims of publishing Russian books and what factors influenced the selection of works for translation are clarified if possible. Special attention is paid to the cooperation between Russian emigrants and Italian editors and illustrators, as well as to the perception of Russian literature by Italian educational critics. The analysis offers an essential contribution to the study of Italian-Russian cultural and literary relations in the first half of the twentieth century and sheds light on hitherto little-studied publishing practices that after World War II would allow Russian classics to reach an increasingly diverse audience in Italy.
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Gordon, W. Terrence. "A Comparative Study of the French & Italian Translations of Anne Michaels’ Fugitive Pieces." TTR : traduction, terminologie, rédaction 15, no. 1 (July 29, 2003): 103–15. http://dx.doi.org/10.7202/006802ar.
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Abstract W. Terrence Gordon examines the notion of translation problems by comparing the French and Italian versions of Michaels’ work. He begins by examining the translation of geological terms which, although they cause no translation problems on a strictly scientific level, are a cause of divergence in the French and Italian versions because they express metaphorically a main theme of the novel: memory and the modifying effect that the past has on the present. Gordon also examines the strategy of each translator with regards to word play, and in particular homonyms, anagrams and palindromes, which are rendered anywhere from a strictly didactic translation to a translation based on various linguistic resources and creative expression. Gordon reminds us that we are invited to study the stylistique interne of English-French and English-Italian through the two translations.
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Segnini, Elisa. "Global Masterpieces and Italian Dialects." Journal of World Literature 2, no. 2 (2017): 236–54. http://dx.doi.org/10.1163/24056480-00202007.
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This essay suggests that the ultraminor can function as a paradigm to examine literature that emphasizes the minority status of the language in which it is composed. Engaging with Deleuze and Guattari’s definition of minor literature and with Pascale Casanova and Lawrence Venuti’s reflections on the role of translation in the shaping of world literature, it develops a comparison between two rewritings of Shakespeare into Italian dialects: Eduardo De Filippo’s translation of The Tempest into Neapolitan and Luigi Meneghello’s translation of Hamlet into vicentino. The essay underlines how these endeavors represent translations into languages that, at the time of writing, are considered by their authors in decline and doomed to extinction, and argues that both authors use translation to emphasize the historical memory of their native idioms. Both De Filippo and Meneghello, in fact, set out to challenge the subordinate status of Neapolitan and vicentino by proving that dialects are apt to express great thought as well as philosophical, abstract, and theoretical concepts.
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Da Milano, Federica. "COMUNICARE IL MADE IN ITALY IN UN CONTESTO INTERLINGUISTICO E INTERCULTURALE." Italiano LinguaDue 16, no. 1 (June 23, 2024): 1–11. http://dx.doi.org/10.54103/2037-3597/23821.
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L’intervento si propone come una riflessione sull’insegnamento della linguistica nell’ambito dei corsi in Comunicazione interculturale. Come spesso viene sottolineato, anche recentemente in occasione degli “Stati Generali della lingua e della creatività italiane nel mondo” (2021), nell’anno delle celebrazioni per i 700 anni della nascita di Dante, l’italiano è una delle lingue più studiate al mondo. Una delle cause di questo grande interesse sembra essere la curiosità, da parte dei più giovani studenti stranieri, nei confronti delle caratteristiche del Made in Italy. Tuttavia, le imprese italiane non riescono a valorizzare adeguatamente la complessità culturale alla base del prodotto italiano, proprio a causa della incapacità di comunicare in modo efficace gli aspetti che lo caratterizzano. Molto spesso viene dato per scontato che il consumatore conosca il contesto culturale alla base del prodotto, errore che si amplifica quando il consumatore proviene da Paesi geograficamente e culturalmente lontani dal nostro. Le imprese hanno bisogno di narratori che siano in grado di raccontare in un linguaggio comprensibile al consumatore le molte caratteristiche del prodotto italiano. Un’opera di traduzione delicata e complessa che richiede un’approfondita conoscenza sia del nostro sistema di valori che di quello del destinatario della comunicazione. All’aumentare della distanza culturale dei consumatori maggiore dovrà essere l’attenzione alle modalità di comunicazione. Per comunicare nei mercati dei Paesi emergenti, in particolare orientali, è necessario non solo conoscere l’evoluzione dei media digitali, ma anche dominare gli aspetti linguistici e culturali. I testi nelle lingue straniere non possono essere la semplice traduzione dei testi italiani; al contrario, sono delle riformulazioni che tengono conto sia della diversità delle categorie culturali di riferimento delle diverse società, sia delle difficoltà di resa traduttiva degli usi linguistici della lingua italiana. Le università italiane dovrebbero dunque tenere conto della rilevanza della comunicazione interlinguistica e interculturale e valorizzare le potenzialità dei corsi in Comunicazione, altrimenti si corre il rischio di avere laureati in lingue orientali che non conoscono la comunicazione digitale e il marketing e laureati in comunicazione con poca consapevolezza della diversità linguistica e culturale. Communicating Made in Italy in an interlingual and intercultural context This paper aims at analysing the teaching of linguistics in the context of Intercultural Communication training courses. As is often emphasised, even recently on the occasion of the “Stati Generali della lingua e della creatività italiane nel mondo” (2021), in the year of the celebrations for the 700th anniversary of Dante’s birth, Italian is one of the most studied languages in the world. One of the main reasons for this great interest seems to be younger foreign students’ curiosity towards the characteristics of “Made in Italy”. However, Italian companies often fail to properly exploit the cultural complexity underlying Italian products, mainly because of their inability to effectively communicate the aspects that characterise them. Very often, in fact, it is taken for granted that the consumer should know the cultural context underlying the product, an error that is amplified when the consumer comes from countries that are geographically and culturally distant from ours. Companies need storytellers who are able to recount the many characteristics of Italian products in a language that consumers can understand. This is a delicate and complex translation task that requires in-depth knowledge of both our value system and that of the recipient of the communication. As the cultural distance of our consumers increases, more attention will have to be paid to the way we communicate. To communicate in the markets of emerging countries, especially in the Eastern Countries, it is necessary not only to be familiar with the evolution of digital media, but also to master the relevant linguistic and cultural aspects. Texts in foreign languages cannot be mere translations of Italian texts; they must be, instead, reformulations that take into account both the cultural diversity of the different societies and the difficulties in translating the idioms of the Italian language. Italian universities should therefore take into account the relevance of interlinguistic and intercultural communication and enhance the potential of Communication courses, otherwise we risk having graduates in Oriental languages who are not familiar with digital communication and marketing, and Communication graduates with little awareness of linguistic and cultural diversity.
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Smidfelt, Linda, and Joost Van de Weijer. "The role of previous foreign language knowledge when translating from Italian as an unknown language into L2 English or L3 Spanish or French." Moderna Språk 113, no. 1 (July 6, 2019): 1–24. http://dx.doi.org/10.58221/mosp.v113i1.7576.
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The aim of the present study is to examine and describe Swedish upper secondary students’ use of their background languages while translating a text from Italian, a language unknown to them, into either their L2 English or their L3 French or Spanish. The assumption here is that searching for similarities between these languages is a natural feature of language learning and that intercomprehension can lead to at least limited understanding of an unknown language. The written translations were analysed quantitatively by calculating translation accuracy in the different languages and qualitatively by means of a retrospective questionnaire on the translation process. A psychotypology questionnaire was also included to examine the participants’ perceptions of the similarities between the languages involved. The majority of the participants stated that they perceived Spanish to be more similar to Italian than any of the other languages involved in the study. Moreover, the results show that the students in the group that translated into Spanish translated the text more accurately than those who translated into French and English. The comments in the retrospective questionnaire show that the students reflected on similarities between the languages on a lexical level, but also on structural and phonological similarities. Contextual cues were also important for the participants’ inferences and translations.
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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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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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Nicklaus, Martina, and Goranka Rocco. "Fingierte Mündlichkeit und Übersetzen." Lebende Sprachen 63, no. 2 (October 8, 2018): 393–429. http://dx.doi.org/10.1515/les-2018-0023.
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Abstract This paper explores the problems related to the translation of some stilistic means in recent Italian prose, i. e. segments of orality integrated in the original literary narrative. The linguistic analysis, based on a corpus composed of two Italian novels (published in 2010 and 2012 respectively) and their French and German translations, focuses on selected lexical, syntactic and information-structural features and their translations. The first observations tend to confirm some former findings, illustrating the heterogeneity of orality-markers in the originals beside the general trend towards a more or less obvious stylistic attenuation in the target text, but there are also significant interlinguistic differences in the approach to the original text. Furthermore, the discussion of some examples demonstrates how results in linguistic research could provide precious assistance in the translation of orality – if they were accessible in specialised reference works.
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Scandola, Massimo. "Lire l’opéra italien en France. Transferts culturels et traductions de Métastase à l’époque des Lumières." Acta Philologica, no. 58 (2022) (August 19, 2022): 131–44. http://dx.doi.org/10.7311/acta.58.2022.12.
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In this paper we propose to study the editorial context of Metastasio’s translations. Then we will identify the types of Italian-speaking readers interested in the opéra seria based on an analysis of unexplored documentary sources. Finally, we will explain how the circulation of these translations changed the “literary scene”. This contribution analyzes the Preface by Charles Bonnet de Chemilin to the translation of the works of Pietro Metastasio (1749).
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Wanner, Adrian. "A Forgotten Translingual Pioneer: Elizaveta Kul’man and her Self-Translated Poetry." Polylinguality and Transcultural Practices 16, no. 4 (December 15, 2019): 562–79. http://dx.doi.org/10.22363/2618-897x-2019-16-4-562-579.
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Elizaveta Borisovna Kul’man (1808-1825) is a unique figure in the history of Russian literature, or more precisely, the history of Russian, German, and Italian literature. A child prodigy with formidable linguistic gifts, Kul’man stands out both with her polyglot prowess and outsized literary productivity. At the time of her premature death at age seventeen, Kul’man left behind a vast unpublished oeuvre in multiple languages. The edition of her works published by the Imperial Russian Academy in 1833 contains a trilingual compendium of hundreds of parallel poems written in Russian, German, and Italian. The writing of poetic texts in three languages simultaneously makes Kul’man an early practitioner of what has been called “synchronous self-translation”. Not only are the poems linked horizontally as mutual translations of each other, they also pose as translations of a fictitious Greek source. Kul’man thus combines translation, self-translation, and pseudo-translation into a unified whole. This article discusses the genesis of Kul’man’s translingualism and explores her trilingual poetics in more detail by following the metamorphosis of one particular poem through its incarnations in Russian, German and Italian. It argues that Kul’man’s translingual creativity anticipates more recent developments in twentieth and twenty-first-century poetry produced by globally dispersed Russians.
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Płaszczewska, Olga. "The Italian translations of Norwid’s poetry." Studia Norwidiana 36 English Version (2018): 151–75. http://dx.doi.org/10.18290/sn.2018.36-6en.
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Bulson, Eric. "Getting Noticed: James Joyce's Italian Translations." Joyce Studies Annual 12 (July 2001): 10–37. http://dx.doi.org/10.1353/joy.2001.0002.
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Bertalot, Valdo. "Il Nuovo Testamento Greco-Latino-Italiano – Conferenza Episcopale Italiana, Roma, 2020." Między Oryginałem a Przekładem 27, no. 3(53) (September 21, 2021): 55–66. http://dx.doi.org/10.12797/moap.27.2021.53.03.
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On the same day of the United Nations International Translation Day, the 30th of September 2020, Il Nuovo Testamento Greco-Latino-Italiano was published by the Italian Catholic Bishops’ Conference (CEI), a date chosen by the United Nations in honor of St. Jerome. The publication of the NTGLI presents two specific innovations: 1. at a ‘textual’ level for the most recent editions of the New Testament used (The Greek New Testament-5th Revised edition; Nova Vulgata, Bibliorum Sacrorum Editio, Editio typica altera; La Sacra Bibbia - Versione ufficiale della Conferenza Episcopale Italiana) and 2. at a ‘cultural’ level for the cooperation among different Christian confessions in Bible translating. In 1988 the Conferenza Episcopale Italiana initiated an extensive and in-depth revision of the CEI1971-74 Bible based on the most recent critical editions of the original Hebrew and Greek texts. The new CEI Bible was published in 2008. Created for the liturgical use, with its 1971-74 edition the CEI Bible became the reference text, almost a new Vulgata. The NTGLI is a strategic tool for future translations of the New Testament in the 4,000 languages without a Bible translation, also aiming to contribute to the affirmation of peace for humanity, as stated in the United Nations Charter: “United Nations Charter, Chapter I, Purposes and Principles, Article 1: The Purposes of the United Nations are: To maintain international peace and security...[and] to develop friendly relations among nations based on respect for the principle of equal rights and self-determination of peoples…”
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Ghanooni, Ali Reza. "A cross-cultural study of metaphoric imagery in Shakespeare’s Macbeth." Translation and Interpreting Studies 9, no. 2 (November 28, 2014): 239–56. http://dx.doi.org/10.1075/tis.9.2.05gha.
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Metaphor is an important literary device, and its translation poses the challenge of switching between different cultural, conceptual, and linguistic frames of reference. This study uses cross-cultural comparison to investigate the metaphoric imagery used in six translations of Shakespeare’s Macbeth into three languages: French, Italian, and Persian. To accomplish the aims of the study, metaphoric images in this play were identified in the source and target texts and then subjected to comparative analysis using Newmark’s categorization of strategies for translating metaphors. After analyzing the translations in the above-mentioned languages, it became apparent that all the translators, including the two Persian translators, tended to retain the same metaphoric images as in the source text. This is somewhat surprising given the greater linguistic and cultural distance between English and Persian. The findings suggest that the literal treatment of metaphors — and not their explicitation — may be a translation universal, at least in regard to canonical texts.
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Chesher, Terry. "Who Says? A review by Professional Translators of the Work of Students Translating Health Text from English into Italian." Meta 36, no. 2-3 (September 30, 2002): 352–66. http://dx.doi.org/10.7202/002228ar.
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Abstract A translation project is described involving translation students (non-professionals) and experienced practitioners (professionals) working on a text relating to diabetes, aimed at Italian-speakers in Australia. Professionals were interviewed as they checked the student version of the text, and a number of problems were identified which were considered to need correction or amendment. Practitioners describe their normal procedure when checking translations, and offer general impressions of the students' work. Examples are given of problem areas encountered both in the English SL text before and after pre-translation Plain English editing, and in the students' version of the Italian. A tentative Translation Accuracy schema is outlined.
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Yu., Munkh-Amgalan. "Монгол хэлээр орчуулагдсан италийн уран зохиолын товч тойм." Mongolian Journal of Foreign Languages and Culture 25, no. 547 (February 10, 2023): 9–25. http://dx.doi.org/10.22353/mjflc.v25i547.1833.
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Mongols have a long and rich tradition of translating literary works from many different countries into Mongolian. Specifically, thousands of literary works from over 100 different countries written in dozens of different languages have been translated into Mongolian. Among these, a large number of Italian literary works have been translated into Mongolian from Russian, English, and Romanian. As for the literary genres of these works, they primarily consist of poetry, prose, and plays (including screenplays). Specifically: 1) Poetry: poems (58 works), songs (1), long poems (3); 2) Prose: folktales (33), authored tales (36), short stories (40), traditional jokes (3), novellas (5), framed stories (1), novels (5); 3) Plays (2), and screenplays (1). In addition, works of non-fiction, including stylized biographical sketches, reminiscences, as well as a political philosophical treatise, have been published. Literary works are generally divided into one of the following two different categories depending on whether they have a specific author or not: a) oral folklore; and b) written literature. The following tasks need to be undertaken to properly study Italian literary works which have been translated into Mongolian and published in Mongolia: A complete bibliography of Italian literary works translated into Mongolian must be compiled, All of the Italian originals must be located and correctly identified, The Russian, English, and Romanian intermediate translations must also be found and carefully consulted, If a work has been translated multiple times by a single translator, the multiple translations must be compared with each other and studied, If a work has been translated multiple times by different translators, the multiple translations must likewise be compared with each other and studied, The Italian originals of poems, songs, tales, and short stories which have been translated into Mongolian should be located and juxtaposed with their translations and published in book format for teaching and research purposes.
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Bochaver, Svetlana Yu, and Ekaterina V. Tereshko. "What is a ‘rare’ language in translation? The experience of distance reading." Slovo.ru: Baltic accent 14, no. 3 (2023): 112–24. http://dx.doi.org/10.5922/2225-5346-2023-3-8.
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This article examines the perception of ‘rare’ and ‘common’ languages through literary translations. The study is based on the materials from De Bezige Bij Publishing House in the Netherlands, comparing the periods of 2010—2013 and 2020—2023. A significant increase in the role of translators is reflected in the rise of translation share in the publishing house. There is an observed growth in the number of source languages for translation, with a decrease in the proportion of English. Translations from French, Italian, German, Scandinavian languages, Portuguese, and Japanese have emerged. A comparison with the Polyandria Russian Publishing House during the period of 2020—2023 reveals common and distinct source languages. Both publishers translate literature into Danish, Finnish, and French to a similar extent. The Russian publishing house represents Norwegian and Japanese to a greater extent, while the Dutch publishing house releases more translations from German, Swedish, Turkish, and Italian. The Russian publisher also includes Icelandic, Albanian, Korean, and Croatian, while the Dutch publisher includes Hebrew, Romanian, and Portuguese. Both publishers encompass a total of 20 source languages, which is a small number compared to the global linguistic diversity. Comparing the volumes of source languages also indicates differences in preferences. Central European languages are chosen in the Netherlands, while Norwegian and Icelandic are favored in Russia. These differences may be influenced by the cost of rights to works, editorial preferences, and translator availability. The analysis results indicate that neither typological similarity between the source language and the target language, nor association with a specific language group, influences the preference for translating books from a particular language. This highlights the importance of sociocultural factors.
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Dahl, Karin Ingrid Eva. "Traduzione e ricezione delle scrittrici italiane del Novecento in Svezia. Alle soglie dell’immortalità letteraria." Moderna Språk 110, no. 2 (December 1, 2016): 25–45. http://dx.doi.org/10.58221/mosp.v110i2.7861.
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Studying the translations in Swedish language of Italian twentieth century women writers, one is astonished by the randomness and the incompleteness. It is often the case of single translations published almost haphazardly and with lack of consistency when it comes to follow up the work of an author. Despite favorable critics, despite a Nobel Prize, the Italian women writers of the twentieth century have never really been established in Sweden. Except for a brief period, Elsa Morante and Natalia Ginzburg. Only the works of the latter could in theory rise to the status of a classic of in the mind of Swedish readers. This is not the case, however, of books by Grazia Deledda, which after a very successful period around the Nobel Prize in the twenties, have disappeared from the shelves of bookstores and libraries. It is as if these authors have fallen into some gray area of literature, almost an intangible cemetery for forgotten novels and old translations.
This work represents the first outcome of a mapping of the publishing of Italian women twentieth century writers in Sweden. Hence, the interest is also to publish a bibliography hitherto unedited of these authors in Swedish language translation.
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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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Burlakova, I. I. "Familiarity of Italians with the works of Dostoevsky." Язык и текст 5, no. 4 (2018): 3–8. http://dx.doi.org/10.17759/langt.2018050401.
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Russian-Italian cultural ties have a long history of formation and development. Italy has always attracted Russian poets and writers with its cultural heritage. F. Dostoevsky was no exception, and he had been there three times, leaving many written testimonies. However, the theme "Dostoevsky and Italy" continues to be relevant in terms of not only the image of Italy on the works pages of the writer and his three travels, but also the acquaintance of the Italians with the work of the writer and the reception of his books in the works of Italian literature and theater representatives. The problem posed has many aspects of consideration. We are interested in the beginning and continuation of a long winning way of love and appreciation of the Italians through acquaintance with the work of F. Dostoevsky, because it is the translation of any work often becomes the starting point for acquaintance with readers. Most often, translators turn to the works of the writer, as evidenced by the presence of almost thirty translations of the novel "Crime and punishment" in Italian. But the works of the writer continue to be translated to the present time, which confirms the relevance of their content and the presence of the reader's request.
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Tóth-Izsó, Zsuzsanna, and Catherine Ann Lombard. "Comparing Two Translations of Giovanni Papini’s Poem C’è un canto dentro di me Depending on the Translators’ Experiences before and during the Translation." Journal of Critical Studies in Language and Literature 3, no. 3 (May 1, 2022): 6–14. http://dx.doi.org/10.46809/jcsll.v3i3.148.
Full textAbstract:
This paper is the first of three related articles that examine an Italian poem written by Giovanni Papini, an original figure in the Italian literature of the first half of the 20th century. This paper is a translation comparison study: the poem was translated into English by two independent translators whose personal backgrounds and translation experiences were significantly diverse. The research aims to see how these differences influence the outcomes. Comparing these two translations showed that a minor part of the content elements slightly, but differed according to each translator’s particular mindset. However, the large majority of the content elements in this case, did not significantly differ. This finding can probably be attributed to the fact that these very translations — quite independently from the translators’ background — were rather strongly determined by the source text. It is not always the case; certain literary pieces provide more, others less room for the translators. Additionally, recently, a clear tendency seems to articulate itself: the strict lines between ‘good’ and ‘bad’ translations have already vanished. Thus, the resultant translation is always determined both by the salient features of the source text and by the individual reading of the source text. Therefore, more individual readings of a piece offer the reader or analyzer a broader and more profound understanding of its content. This article aims to demonstrate these opposing influences via a particular translation case study in more detail, hoping it will contribute to our deeper translation theoretical understanding.
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Vargas Gómez, Francisco Javier. "All Roads Lead to... Italy." LETRAS, no. 75 (December 9, 2023): 163–80. http://dx.doi.org/10.15359/rl.2-75.7.
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The results of research on the translation of Costa Rican poetry into Italian are presented, including its evolution, determining factors, forms adopted, the image the translations project of the original poetry, and their potential function within the target context. It is concluded that the appearance of those translations would have been the result of opportunity and that, as poetic texts, they would have been adapted to the target readers’ expectations.
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Shaw, Leslie A., James R. Thompson, Marco Lombardi, Luigi Croce, Roberta Speziale, Tiziano Gomiero, and Karrie A. Shogren. "The Italian Translation of the Supports Intensity Scale-Children (SIS-C Italian): Measurement Invariance and Differences." Journal of International Special Needs Education 25, no. 1 (January 1, 2022): 37–47. http://dx.doi.org/10.9782/2331-4001-25.1.37.
Full textAbstract:
Abstract The Supports Intensity Scale – Children's Version (SIS-C) was translated into Italian using a committee approach to translation. Latent modeling approaches enabled the leveraging of the large standardization sample from the U.S. (n = 4,015) to generate translation-specific norms from data collected in Italy (n = 435) for children and youth ranging ages 5-16 years placed in six evenly distributed age groups by country. Findings indicated the structure of the SIS-C (i.e., seven support need domains organized under an overall support needs construct), was supported in the Italian context. However, there were age-related differences in the U.S. and Italian samples. In the Italian sample, norms were established for the 5-8 years, 9-10 years, and 11-16 years age groups. Moreover, the Italian sample also differed from other European samples and SIS-C translations. The importance of understanding cultural contexts in interpreting findings from the SIS-C is discussed, along with ways in which SIS-C findings can be used to inform policy and practice in the Italian context.
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Pisanski Peterlin, Agnes, and Tamara Mikolič Južnič. "Contrasting pronominal subjects." Languages in Contrast 18, no. 2 (November 28, 2017): 230–51. http://dx.doi.org/10.1075/lic.16007.pis.
Full textAbstract:
Abstract Pronominal subject use constitutes a potential challenge in translation because of cross-linguistic differences: while the subject must be expressed in non-null subject languages, this is not necessary in null subject languages. The aim of the paper is twofold: first, to show that the type of source language influences the frequency of personal pronouns in translation, and second, to establish whether translations into a null subject language differ from comparable target language originals in terms of pronominal subject use. The study is based on the analysis of a 625,000-word corpus comprising original and translated popular science texts in Slovene and the corresponding source texts in English and Italian. The results confirm that pronominal subjects are more frequent in translations from English, a non-null subject language; furthermore, they are more frequent in translations than in comparable originals. Untypical cohesive patterns are identified in translations and possible reasons for their presence are explored.