Le notti di Copacabana

Thanks to Gioia Benedetti’s careful philological work, a short, narrative and hitherto unknown text brings back the voice of one of the most original and brilliant Italian critics of the 20th century. After the trip to Brazil in his youth, in his single finished novel set in Rio de Janeiro in the Fifties, Notti di Copacabana, Ruggero Jacobbi conveyed not only the climate and atmosphere of a distant and in some ways mythical world such as Brazil, but also a significant track of the readings, meetings and influences of the great texts of Portuguese and South American literature, at the time mostly unknown in Italy. Jacobbi had an extraordinary talent at catching and interpreting the changes in the narrative code, and in this book, the author offers an incredibly intriguing experimental story with alternating voices and characters and intertwining events, contributing to the creation of a suspenseful atmosphere

La traducción del teatro áureo en Italia, desde el siglo XIX hasta nuestros días. Constantes y variables en la formación de un canon

This essay aims to provide an over view of the Italian translations of Spanish Golden Age theatre from the 19th centur y to the present, identifying above all the differ-ences in the approach to Spanish texts compared to previous centuries and the distinc-tive features of each historical-cultural period within this long span of time. Romantic translations (a period marked by the great collections of theatrical texts by Monti and La Cecilia) were characterised by their marked preference for religious and honour-based dramas and for the works of Calderón; while the 20th centur y saw a general reworking of the corpus of translated texts, with a stable presence of Calderón and the recover y of the dramas on peasant honour by Lope de Vega. The emergence and affirmation of the poetic translation is highlighted, from the early experiments of the 1920s to the general acceptance of our days, and the role hispanists and writers played in this choice. An analysis of the corpus of translation collections in the 20th and 21st centuries, as well as of the many individual translations, also shows how the canon of the Spanish Golden Age theatre has changed both on the academic and editorial side