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Kampert, Magdalena Anna (2018) Self-translation in 20th-century Italian and Polish literature: the cases of Luigi Pirandello, Maria Kuncewiczowa and Janusz Głowacki. PhD thesis. https://theses.gla.ac.uk/71946/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Self-translation in 20th-century Italian and Polish literature: the cases of Luigi Pirandello, Maria Kuncewiczowa and Janusz Głowacki Magdalena Anna Kampert Submitted in fulfilment of the requirements for the Degree of PhD School of Modern Languages and Cultures College of Arts University of Glasgow September 2018 3 Abstract This thesis examines the phenomenon of self-translation in two different cultural contexts: the Italian context of self-translation within national borders and the Polish context of self-translation in displacement. It focuses on four case studies: Luigi Pirandello’s self-translations of ’A birritta cu ’i ciancianeddi (1916) and Tutto per bene (1920), Maria Kuncewiczowa’s self-translation of Thank you for the Rose (1950-1960) and Janusz Głowacki’s assisted self-translation of Antygona w Nowym Jorku (1992). In discussing the case studies, the thesis draws attention to power relations and to the concepts of self-translation’s hybridity and its invisibility in accounts of national literatures, dominated by monolingual and monocultural paradigms. The aim of this study is to identify what the comparison of different contexts reveals about self-translation, its invisibility and the power relations involved. The analysis begins with an outline of theoretical frameworks and debates in the field of self-translation. The themes examined in this part concern the definition of the practice, creativity in self- translation, the importance of paratext and self-translation genetics, ending with a focus on power relations, self-translation’s invisibility and hybridity. The second chapter illustrates current scholarship, including scholarship on Italian and Polish self-translation, and clarifies the choice of case studies and terminology. Following this preliminary contextualisation, the core of the thesis is dedicated to the Italian and Polish areas of study. It is composed of mapping the phenomenon in 20th-century Italian and Polish literature, respectively, and of a thorough examination of the case studies. Each case study takes into account relevant elements of the historical, cultural and sociolinguistic contexts, and stresses the hybridity of the writers’ personal and literary identities. Based on a genetic translation studies approach, the case studies include analysis of paratextual material and close comparative analysis of the linguistic variants involved. The case studies are concluded with observations on the (in)visibility of self-translations and of the related texts. The conclusion considers how the case studies highlight questions of power, self-translation’s invisibility, both in terms of the phenomenon and texts involved, as well as the question of the hybridity of self-translation and self-translators. In examining self-translation in a perspective exceeding one national language and culture, this thesis argues that acknowledging self-translation in accounts of national 4 literature might lead to a shift in the conceptualisation of national literatures and their writers, which accounts for their hybridity. 5 Table of contents Abstract ..................................................................................... 3 List of Tables ............................................................................... 7 Acknowledgements ........................................................................ 9 Author’s Declaration ..................................................................... 11 Abbreviations .............................................................................. 13 Introduction ............................................................................... 15 SECTION I Chapter 1 Self-translation: terminology, theoretical frameworks and debates ........... 21 1.1. Definition ......................................................................... 21 1.2. Self-translation and creativity ................................................. 22 1.3. Paratext and self-translation genetics ....................................... 28 1.4. Power relations, self-translation’s (in)visibility and hybridity ............ 30 Chapter 2 Overview of the scholarship on self-translation and the rationale for the case studies ...................................................................................... 35 2.1. Current scholarship and its gaps .............................................. 35 2.2. Scholarship on Italian and Polish self-translation ........................... 42 2.3. Rationale for the case studies and terminology............................. 51 SECTION II Self-translation within national borders (endogenous asymmetrical self- translation) ................................................................................ 59 Mapping 20th-century Italian self-translation ....................................... 59 Chapter 3 The case of Luigi Pirandello ............................................................ 69 3.1. General information on Pirandello’s self-translations ..................... 69 3.2. The (socio-)linguistic context of Pirandello’s self-translations ........... 81 3.3. Self-translation and hybrid identity .......................................... 86 Chapter 4 Case studies ............................................................................... 91 4.1. Self-translation of ’A birritta cu ’i ciancianeddi............................ 92 4.1.1. Genesis and content of the play .......................................... 92 4.1.2. Analysis of self-translation ................................................ 99 6 4.2. Self-translation of Tutto per bene ........................................... 112 4.2.1. Genesis and content of the play ........................................ 112 4.2.2. Analysis of self-translation ............................................... 119 4.3. (In)visibility of self-translation and the texts involved ................... 139 SECTION III Self-translation in displacement (exogenous asymmetrical self-translation)143 Mapping 20th-century Polish self-translation ....................................... 143 Chapter 5 Self-translation of Thank you for the Rose by Maria Kuncewiczowa ......... 155 5.1. Maria Kuncewiczowa and her context ....................................... 155 5.2. Self-translation and world citizenship ....................................... 158 5.3. General information on self-translation .................................... 160 5.4. Genesis and content of the play ............................................. 164 5.5. Analysis of self-translation .................................................... 175 5.6. (In)visibility of self-translation and the texts involved ................... 195 Chapter 6 Self-translation of Antygona w Nowym Jorku by Janusz Głowacki ........... 199 6.1. Janusz Głowacki and his context ............................................. 199 6.2. Self-translation and transcultural belonging ............................... 203 6.3. General information on self-translation .................................... 207 6.4. Genesis and content of the play ............................................. 210 6.5. Analysis of self-translation .................................................... 217 6.6. (In)visibility of self-translation and the texts involved ................... 227 SECTION IV Chapter 7 Conclusions .............................................................................. 231 Bibliography ............................................................................. 237 7 List of Tables Table 1 – Pirandello’s self-translations ................................................ 72 Table 2 – ‘La verità’ vs ’A birritta cu ’i ciancianeddi ............................... 94 Table 3 – ’A birritta cu ’i ciancianeddi vs Il berretto a sonagli ................... 102 Table 4 – Tutto per bene vs Giovanni Grasso’s apograph vs Giuseppe Murabito’s script ....................................................................................... 118 Table 5 – Tutto per bene vs Ccu ’i nguanti gialli.................................... 120 9 Acknowledgements I wish to thank first and foremost my supervisors, Professor Susan Bassnett, Dr Elwira Grossman and Dr Eanna O'Ceallachain, for their invaluable guidance and support during these years. I would like to thank also Dr Penny Morris who supervised me in my first year. My gratitude goes to Professor Andrea Ceccherelli, who introduced me to the subject of self-translation, and to Professor Roman Sosnowski, who always encouraged me to pursue this path. I am indebted to the College of Arts for having offered me the scholarship without which I would not have been able to complete this project. Finally, I want to thank the National

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