Las dos caras de Italia en El Criticón: ¿país del engaño o la más célebre provincia de Europa?

Sin resume

“A la ballena y a Jonás, muy mal pintados”: Quevedo coleccionista y crítico de arte

El soneto titulado «A la ballena y a Jonás», núm. 602 de la edición de Blecua, alude a un misterioso lienzo de contenido bíblico realizado por Eugenio Cajés y adquirido por Quevedo. Varios motivos de reflexión ofrece la implicación de don Francisco en primera persona que permite al poeta jugar contemporáneamente el papel de coleccionista de cuadros, de crítico de arte y de comprador descontento que se da cuenta, demasiado tarde, de la flaqueza de su negocio. El motivo de la pintura le sirve al autor para construir una invectiva contra Cajés y la manera más eficaz de declarar su indignación hacia el pintor —la misma manifestada por Jonás a causa de la rapidez de la conversión de los ninivitas— es la de dirigirle un soneto, máximo logro de su pluma contundente y de un virtuosismo lingü.stico sin par. The sonnet «A la ballena y a Jonás», number 602 in Blecua’s edition, speaks about a mysterious picture of biblical theme, painted by Eugenio Cajés and bought by Quevedo. Many reasons of reflection are connected to the direct and concrete implication of don Francisco in the poem: he can contemporaneously play the role of paintings collector, art critic and dissatisfied buyer who accounts, too late, for the mistake of his business. The author uses the painting’s theme to create an invective against Cajés. The most effective manner to declare his indignation towards the painter —the same anger showed by Jonás because of the quickness of the Ninivitas conversion— is the use of a sonnet, maximum expression of his cruel pen and his extraordinary linguistic virtuosity

Pinturas infernales y retratos grotescos: viaje por la iconografía de los Sueños

Analizando el ciclo completo de los Sueños, no se puede prescindir de una lectura basada en la importancia del retrato plástico visual quevediano, en la relación directa o indirecta con la obra de algunos pintores (en particular, Bosch y Arcimboldi) y en el ejercicio de una écfrasis oculta que ofrece al texto riqueza e intensidad. La fuerza iconográfica de los grandes retratos literarios, de las rápidas viñetas o de las imágenes compuestas —hechas de yuxtaposición de escenas y de personajes— permite la construcción de una ventana imaginaria proyectada hacia el mundo terreno y ultraterreno, un enorme cuadro de múltiples colores y perspectivas, cuyo pincel es la pluma genial de don Francisco. The analysis of the complete cycle of the Sueños must take into consideration a reading based on the importance of the quevedian visual and plastic portrait, on the relationship with the works of some painters (Bosch and Arcimboldi, in particular) and on the practice of an occult ekfrasis that gives the text fullness and intensity. The iconographic power of the large literary portraits, of the rapid illustrations, of the composite images —characterized by a juxtaposition of scenes and characters— allow the building of an imaginary window opened to the earthly and heavenly world, a great multi-coloured painting, whose pincel is the ingenious pluma of don Francisco

Las dos caras de Italia en El Criticón: ¿país del engaño o la más célebre provincia de Europa?

Sin resume

Quevedo y las jácaras: deformación idiomática e iconográfica y su (im)posible traducción al italiano

The essay analyses a corpus of three jácaras by Quevedo: two of them are letters (numbers 849 and 851), where a burlesque language predominates, and a third text —without the form of an epistle— which features vulgar and impudent expressions (number 864). There are few works known in Italy of this kind, with some gaps in their annotation, so their Italian translation appears to be a challenge, having no previous models to rely upon. The study reflects on the modalities for translating sentences or poetic fragments, suggesting the translation of culturally-marked images and terms, which are difficult to render in the target language. The aim of the work is to try to preserve the sharp humour, the burlesque charge and the iconographic focus of these Golden Age poems.El ensayo analiza un corpus de tres jácaras firmadas por Quevedo: dos cartas (núms. 849 y 851), donde predomina un lenguaje rufianesco, y la tercera —sin forma de epístola— que presenta expresiones vulgares e impúdicas (núm. 864). Se trata de obras menos conocidas en Italia, con unas lagunas en la anotación, por lo tanto la traducción al italiano aparece como un desafío, no teniendo modelos previos. El estudio reflexiona sobre las modalidades traductoras de frases o fragmentos poéticos, proponiendo la traducción de imágenes y términos hiperconnotados o culturalmente marcados, de difícil restitución en la lengua de llegada. El objetivo del trabajo consiste en intentar salvaguardar el humor agudo, la carga burlesca y el foco iconográfico de estos poemas del Siglo de Oro

Las variedades hispanoamericanas en el paisaje lingüístico de la didáctica de ELE

In this paper we aim to analyse the presence of American varieties in the teaching of L2 Spanish, focusing in particular on textbooks, students’ books and online resources used both in Spanish classes and in teachers’ long-life training. The relevance of this investigation derives from social and cultural changes in contemporary city landscapes: migration fluxes moving from Hispanic American countries to Italy present linguists and teaching experts with new challenges, because of the presence of second generation and heritage speakers in L2 Spanish classes. In order to check whether L2 Spanish learning materials and teachers take these changes into consideration, we designed two different surveys: the first one targets students at higher proficiency levels, with the aim of exploring whether their former training has dealt with American Spanish varieties; the second one addresses teachers, to describe and evaluate their knowledge and skills concerning American varieties and to investigate whether and how they treat them in their teaching practice. We also extend the analysis to the examination of the most widely used and recent textbooks, students’ books and online resources with a view to quantifying the presence of the Hispanic American component in this material. Results show that the large use of cultural contents from American Spanish is not appropriately exploited to develop students’ linguistic competence. Hence, we remark once again the importance of considering the richness and complexity of linguistic input in L2 Spanish teaching materials (both in materials and in teachers’ long-life training). This is possible by relying upon the tools provided by Linguistic Landscape theory and methodology, with a view to responding to the needs and expectations of students and of contemporary society in general.In this paper we aim to analyse the presence of American varieties in the teaching of L2 Spanish, focusing in particular on textbooks, students’ books and online resources used both in Spanish classes and in teachers’ long-life training. The relevance of this investigation derives from social and cultural changes in contemporary city landscapes: migration fluxes moving from Hispanic American countries to Italy present linguists and teaching experts with new challenges, because of the presence of second generation and heritage speakers in L2 Spanish classes. In order to check whether L2 Spanish learning materials and teachers take these changes into consideration, we designed two different surveys: the first one targets students at higher proficiency levels, with the aim of exploring whether their former training has dealt with American Spanish varieties; the second one addresses teachers, to describe and evaluate their knowledge and skills concerning American varieties and to investigate whether and how they treat them in their teaching practice. We also extend the analysis to the examination of the most widely used and recent textbooks, students’ books and online resources with a view to quantifying the presence of the Hispanic American component in this material. Results show that the large use of cultural contents from American Spanish is not appropriately exploited to develop students’ linguistic competence. Hence, we remark once again the importance of considering the richness and complexity of linguistic input in L2 Spanish teaching materials (both in materials and in teachers’ long-life training). This is possible by relying upon the tools provided by Linguistic Landscape theory and methodology, with a view to responding to the needs and expectations of students and of contemporary society in general

Traducción y mundos posibles. Los Sueños de Quevedo traducidos al italiano

En el artículo se reflexiona, a través de ejemplos concretos, sobre las efectivas posibilidades de fidelidad al traducir al italiano los Sueños de Quevedo, cotejando, en un itinerario de búsqueda de la ‘traducción posible’, algunas traducciones modernas de la obra: la del escritor Carlo Emilio Gadda, que traduce sólo El mundo por de dentro (1941) y las de la serie completa, firmadas por Gasparetti (1959) y Rapisarda (1988). Como conclusión adelantamos que por fidelidad no entendemos ni una sujeción al texto original, ni una exactitud en la reproducción de las palabras y de las frases —imposibles cuando se traduce a otro idioma— sino un principio de respeto y de honestidad hacia el mensaje quevediano. El traductor, como moderno mediador, tendrá que hacer ‘revivir’ en el texto de llegada la carga satírica del original, suscitando emociones que abarcan la maravilla y la repulsión, la incredulidad y la risa, hasta llegar al desencanto, poniendo a disposición del autor también su genial creatividad, pero sin superarlo nunca. Through an investigation of the ‘possible translation’ which involves a comparison between some modern translations of Quevedo’s Sueños —Carlo Emilio Gadda’s translation only of El mundo por de dentro (1941) and the translations of the complete work by Gasparetti (1959) and Rapisarda (1988)— the paper discusses how far high fidelity is possible in the Italian translation of Quevedo’s book. By ‘fidelity’ we mean neither a complete subjection to the original, nor an exact reproduction of words and phrases —an impossible feat when translating into another language— but rather respect and honesty towards the Quevedian text. The translator, as a modern mediator, must be able to revive in the target text the satirical force of the original by arousing emotions that range from surprise to disgust, ultimately reaching disenchantment, thus allowing the author’s creativity to emerge without ever imposing on him

Quevedo «hombre de bajos fondos y altos vuelos». «El alguacil endemoniado» y la voz de sus traductores italianos

Through a journey across the main modern translations into Italian of El Alguacil endemoniado (Gasparetti, 1959 = GA; Rapisarda, 1988 = Ra; Bajini, 1990 = BA) by Francisco de Quevedo, the study reflects on the ways of translating specific segments involving the presence of rhetorical elements (especially semantic ambivalences and hyper-connoted terms), references to lost historical traditions (e.g. the fashion of «bucarofagia»), and the unquestionable satirical voice. All these aspects make translation a delicate and complex —sometimes almost impossible— task. The aim of the study is to show how translation can be considered a relevant critical contribution to the interpretation of El Alguacil endemoniado. It also highlights the need to suggest translation strategies —sometimes alternative to pre-existing works— in order to better convey the sharp humour, the burlesque charge and the iconographic focus of this Quevedian work. We will therefore try to show that the process of translating literary texts is not a simple transfer from one language to another but a work of deep interaction between lemmas and of mediation between the source and the target cultures, considering also the four-century interval between prototext and metatexts.Mediante un recorrido a través de las principales traducciones modernas al italiano de El Alguacil endemoniado (Gasparetti, 1959 = GA; Rapisarda, 1988 = RA; Bajini, 1990 = BA), de Francisco de Quevedo, el estudio reflexiona sobre las modalidades traductoras de palabras o locuciones en los que la presencia de elementos retóricos (en especial ambivalencias semánticas y términos hiperconnotados), de referencias a tradiciones históricas perdidas (por ejemplo la moda de la bucarofagia), junto a la indiscutible voz satírica, hacen de la traducción una tarea delicada y compleja, a trechos casi imposible. El objetivo del estudio consiste en evidenciar cómo la traducción se puede considerar un aporte crítico relevante para la interpretación de El alguacil endemoniado, además de proponer estrategias traductoras —a veces alternativas a los trabajos preexistentes— a los fines de salvaguardar mejor el humor agudo, la carga burlesca y el foco iconográfico de esta obra quevediana. Se intentará demostar por ende que el proceso traductor de textos literarios no es un simple transvase de una lengua a otra sino un trabajo de interacción profunda entre los lemas y de mediación entre las dos culturas target, considerando también el intervalo temporal de cuatro siglos entre prototexto y metatextos