BETWEEN PHILOLOGY AND CRITICISM IN LITERARY TRANSLATION: LA COSCIENZA DI ZENO BY ITALO SVEVO

The aim of this article is to present some theoretical reflections on the matter of literary translation by referring to two different methodological approaches: philology and criticism. The analysis is conducted on La coscienza di Zeno by Italo Svevo, one of the most relevant novels of Italian Modernism, and focuses on two paratextual aspects that, in connection with the translation of a literary text, are of particular significance: the choice of the reference text, which is linked to philology; and the strategy for title translation, which is linked to criticism

Il confine e il mare. Dispositivi di creazione letteraria nella macchina poietica di Enrico Morovich

The reflection proposed in this article starts from the realities of the border and the sea, and from the problematic meaning they assumed in the frame of the city of Fiume (Rijeka) in the early twentieth century. The main goal is to explore how in the work of Enrico Morovich, an Italian writer coming from Fiume who had to personally and tragically experience war and exile, the border and the sea act as devices of literary creation, providing models of humorous reversal (the border) and symmetrical thinking (the sea). The analysis will focus in particular on the following works by Morovich: Cronache vicine e lontane (1981), La nostalgia del mare (1981), Un italiano di Fiume (1994).Analiza zaproponowana w tym artykule wychodzi od realiów granicy i morza oraz od problematycznego znaczenia jakie przyjęły dla miasta Fiume (Rijeka) na początku XX wieku. Głównym celem jest zbadanie, jak w twórczości Enrico Morovicha, włoskiego pisarza pochodzącego z Fiume, który musiał osobiście i tragicznie doświadczyć wojny i wygnania, granica i morze działają jak narzędzia twórczości literackiej, dostarczając modeli humorystycznego odwrócenia (granica) i myślenia symetrycznego (morze). Analiza skupi się w szczególności na następujących pracach Morovicha: Cronache vicine e lontane (1981), La nostalgia del mare (1981), Un italiano di Fiume (1994)

Dainos: la traduzione italiana dei canti popolari lituani

Dainos: the Italian translation of Lithuanian folk songs – This essay presents the first and unique Italian translation of an anthology of Lithuanian folk songs: Canti popolari lituani by Giuseppe Morici. Already published in 1925 (A.R.E., Roma), in 1930 the collection was republished as part of an editorial series – Poesia popolare indoeuropea – dedicated to the tradition of Indo-European folk poetry and edited by Ettore Lo Gatto. The essay is divided into two parts. The first one analyses Morici’s anthology considering its structure and contents, as well as the historical and cultural context in which it was set. The second part focuses on some textual samples indicative of the translation difficulties Morici faced due to structural and semantic differences between the Lithuanian and the Italian languages

Furio Jesi e Cesare Pavese. Dalla teoria del mito alla teoria della creazione letteraria

This paper analyzes the theoretical path leading Cesare Pavese, between the Thirties and the Forties, to the creation of his own mythological machine, that is to say the device of his literary poiesis. The analysis bases itself on Furio Jesi as a critic, but also and above all as a mythologist, whose studies turn out particularly useful to clarify some complexities of Pavese’s theory of literary creation

"Canti popolari lituani": pirmoji lietuvių liaudies dainų rinktinė italų kalba

Šiame straipsnyje analizuojami lietuvių liaudies dainų vertimai į italų kalbą. Tyrimo objektas – pirmoji lietuvių liaudies dainų rinktinė italų kalba „Canti popolari lituani“ (Roma 1930), dainas į italų kalbą išvertė G. Morici. Analizei pasirinkti istorinis ir kultūrinis, literatūros kritikos ir filologinis tyrimo metodai. Straipsnyje aptariamas istorinis ir kultūrinis rinktinės „Canti popolari lituani“ kontekstas, gilinamasi į vertėjo G. Morici atliktą darbą, nagrinėjami vertėjo pasirinkti vertimo būdai, aptariami vertimai, kuriais rėmėsi G. Morici, versdamas lietuvių liaudies dainas į italų kalbą.The essay starts by analyzing an editorial project, the series Poesia popolare indoeuropea (Indo-European Folk Poetry), realized in Italy in 1930 under the guidance of the expert of Slavic Studies Ettore Lo Gatto. The series aimed at a vast audience, with the objective to inform and sensitize the society to ancient and folk literatures of the Indo-European area, a theme not so popular and almost unknown at that time, but also not easy to study, considering the historical period was closed to international cultures. Unfortunately, it was a short experience: the volumes composing the series were just three. The second one, "Canti popolari lituani" (Lithuanian Folk Songs) by Giuseppe Morici, is the first collection of Lithuanian "dainos" translated into Italian. This study places a special emphasis on Morici’s work, analyzing its contents and, through its example, reflecting on the issue of translation

Giacomo Leopardi in lituano: L’ Infinito nelle traduzioni di Nyka Niliūnas e Lanis Breilis

This article proposes a comparative analysis of two translations from Italian into Lithuanian of the idyll The Infinite by Giacomo Leopardi. The first translation, published in 1968, was made by the poet and translator Nyka‑Niliūnas. The second one, published in 2017, was made by then translator Lainis Breilis. The introduction demonstrates the interest of Lithuanian intellectuals living in the diaspora toward contemporary Italian poetry starting from the sixties in the context of the Soviet occupation. The study proceeds with a close reading of the two target‑texts, aimed at understanding how the two relate with the source‑text and also between each other. Among the several aspects analyzed, there is the deficiency in both translations of the deictic system relied upon by Leopardi’s idyll. More specifically, the attention will be focused on the semantic implications of this deficiency.Niniejszy artykuł proponuje analizę porównawczą dwóch litewskich przekładów sielanki L’Infinito Giacomo Leopardiego. Pierwszego przekładu, opublikowanego w 1968 roku, dokonała poetka i tłumaczka Nyka‑Niliūnas, drugi, opublikowany w 2017 roku, został wykonany przez tłumacza Lainisa Breilisa. We wstępie jest pokazane zainteresowanie litewskich intelektualistów żyjących w diasporze wobec współczesnej poezji włoskiej, począwszy od lat sześćdziesiątych i w kontekście okupacji sowieckiej. W dalszej części staranna analiza porównawcza obu tłumaczeń, ma na celu zrozumienie, w jaki sposób odnoszą się one do tekstu źródłowego. Wśród kilku analizowanych aspektów uwypukla się brak w obu przekładach systemu deiktycznego, na którym opiera się sielanka Leopardiego. W szczególności uwaga skupi się na semantycznych implikacjach tego braku