DOCSLIB.ORG

Journal of Italian Translation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Journal of Italian Translation Editor Luigi Bonaffini Associate Editors Gaetano Cipolla, Michael Palma, Joseph Perricone Assistant Editor Paul D’Agostino Editorial Board Adria Bernardi Geoffrey Brock Franco Buffoni Barbara Carle Peter Carravetta John Du Val Anna Maria Farabbi Rina Ferrarelli Luigi Fontanella Irene Marchegiani Sebastiano Martelli Adeodato Piazza Nicolai Stephen Sartarelli Achille Serrao Cosma Siani Joseph Tusiani Lawrence Venuti Pasquale Verdicchio Justin Vitiello Francesco Marroni Journal of Italian Translation is an international journal devoted to the translation of literary works from and into Italian-English-Italian dialects. All translations are published with the original text. It also publishes essays and reviews dealing with Italian translation. It is published twice a year. Submissions should be both printed and in electronic form and they will not be returned. Translations must be accompanied by the original texts, a brief profile of the translator, and a brief profile of the author. All submis- sions and inquiries should be addressed to Journal of Italian Translation, Dept. of Modern Languages and Literatures, 2900 Bedford Ave. Brooklyn, NY 11210 or [email protected] Book reviews should be sent to Joseph Perricone, Dept. of Modern Language and Literature, Fordham University, Columbus Ave & 60th Street, New York, NY 10023 or [email protected] Website: www.jitonline.org Subscription rates: U.S. and Canada. Individuals $25.00 a year, $40 for 2 years. Institutions $30.00 a year. Single copies $15.00. For mailing overseas, please add $10 per issue. Payments in U.S. dollars. Make checks payable to Journal of Italian Translation Journal of Italian Translation is grateful to the Sonia Raiziss Giop Charitable Foundation for its generous support. Journal of Italian Translation is published under the aegis of the Department of Modern Languages and Literatures of Brooklyn College of the City Univer- sity of New York Design and camera-ready text by Legas, PO Box 149, Mineola, NY 11501 ISSN: 1559-8470 © Copyright 2006 by Journal of Italian Translation Journal of Italian Translation Editor Luigi Bonaffini Volume III, Number I, Spring 2008 Journal of Italian Translation Volume III, Number 1, Spring 2008 Table of Contents Essays Anna Maria Curci Carducci traduttore di poesia tedesca ......................................... 10 Erminia Passannanti Franco Fortini’s Realtà e paradosso della traduzione poetica....... 28 Anna Maria Farabbi Attraverso la lingua dei segni. Intervista a Stefania Berti e Luigi Lerose ............................................................................. 61 Translations Diana Festa English translation of poems by Alessandra Corsini ................ 78 Adeodato Piazza Nicolai Ladin and English translation of Eugenio Montale’s “Arsenio” .................................................................................... 84 Brett Foster English translation of poems by Cecco Angiolieri .................... 92 Emelise Aleandri English translation of “Shhhh” by Etta Cascini ...................... 100 Renzo D’Agnillo English translation of “Una reazione imprevedibile” by Francesco Marroni ............................................................. 128 Special features New Translators Edited by John DuVal Ettore Marchetti English translation of poems by Giorgio Caproni ................... 142 Aniello Di Iorio English translation of poems by John Yau................................ 144 Confronti poetici Edited by Luigi Fontanella Featuring Paul Auster and Antonella Anedda ....................... 150 Le altre lingue Edited by Achille Serrao Pier Mattia Tommasino Italian translations by the author (from the Romanesco dialect) ....................................................................................... 156 Classics Revisited Joseph Tusiani English translation of Il rogo amoroso by Torquato Tasso ...... 173 Poets Under Forty Edited by Alessandro Broggi Moira Egan and Damiano Abeni English translation of poems by Massimo Gezzi ..................... 218 Paul D’Agostino English translation of poems by Giovanni Turra .................... 228 Poets of the Diaspora Edited by Luigi Bonaffini Featuring Gino Chiellino and Cristina Alziati (Germany) English translations by Novella Bonaffini .......................... 237 Dueling Translators Edited by Gaetano Cipolla Pino Giacopelli’s poem “Anche alla fine”, translated into Ladin and English by Adeodato Piazza Nicolai and into English by Onat Claypole .................................................... 252 Book Reviews Cosma Siani Giuseppe Cautela, Moon Harvest, [ediz. orig. 1925], trad. ital. con testo originale a fronte .................................................... 257 Paul D’agostino Carlo Betocchi, Awakenings: Selected Poems 1932-1982, edited and translated by Ned Condini ............................................ 262 Franco Buffoni: Selected Poems 2000-2005, translated by Emanuele di Pasquale ............................................................ 268 In each issue of Journal of Italian Translation we will feature a noteworthy Italian or Italian American artist. In the present issue we feature the work of Elio Franceschelli Antonella Micaletti, Toposgrafica Elio Franceschelli’s interpretation of space is the representa- tion of an idea – aesthetics and ethics seen together. Just a year or so ago, the material representation of motion and tension, depicted at first as springs, tarpaulins, objects which stored energy through daily use, where a parallelism could be drawn, becomes the back- bone of his works. Slackened tension and contraction, motion and cessation, fullness and emptiness, have always been elements which express the artistic language of Elio Franceschelli. Recently, two elements have come together, water and oil, which extend the con- ceptual parallelism to the point as to undermine our perceptive expectations. Oil is seen on top water below. The dark and heavy elements oversee the light and limpid ones, death (the lack of oxy- gen) also hovers over life. Nowadays, the liquid has a colour. The simplest structure of water and oil can be seen throughout the walls of Palazzo Parissi no longer as separate works rather as a vitalistic chain, almost an undulating DNA, which delimit wall perimeters chosen by the artist as work space. A re-enactment of the parallelism of life and death has the final word on terms such as project and utopia rep- resented by art. Paolo Balmas, Tempi Ultimi Nothing could be more misleading than to read in Elio Franceschelli’s work the quest for formal preciousness or the de- sire for originality at all costs. The choice of materials which up to now have represented several artistic periods, highly original and uncommon, have always been the direct consequence of a strong and clear symbolic bond which these materials have exercised upon him as well as the suggestive linguistic solutions adopted which have a precise technical and communicative function. Steel springs, waterproof tarpaulins, exhaust manifolds, wooden crates, trusses used underneath balconies, metal bins, depleted lubricants and television screens in disuse are just some of the materials which Franceschelli has used or is using. At first, these objects appear to be unrelated but if we look closely we can perceive the bond; a bond which denotes that at one time these items were used and considerable energy was constantly de- manded. In particular, the artistic quest which Franceschelli is aim- ing at with great effort, the depiction of burnt oil and water within plexiglass forms of various shapes and sizes, takes on a special meaning as concerns the general indiscriminate use of our planet’s resources. At first, we get an elegant contrast of colour and density as oil floats on water. Then, as it contaminates the crystal waters be- low, we are given the impression of death and doom. The sugges- tive effect however, which makes us reflect upon the condition in which mankind is in through his own doing, expresses a new form of energy meaning the healing effect of art. Essays Journal of Italian Translation Carducci traduttore di poesia tedesca Anna Maria Curci Anna Maria Curci insegna Lingua e civiltà tedesca in una scuola secondaria superiore di Roma e Lingua e Traduzione Tedesca all’Università di Siena, Facoltà di Lettere e Filosofia di Arezzo. Ha curato l’edizione di antologie di letteratura tedesca (Das Doppelgängermotiv in der deutschsprachigen Literatur des 19. und des 20. Jahrhunderts, Torino, Loescher, 1997; Jugendliteratur brisant, Torino, Loescher, 1999), è coautrice, con Susanne Maria Roth e Siri Bente Pieper, di manuali per l’insegnamento della lingua tedesca (Vitamin D, Firenze, Le Monnier 2005; Die Clique, Novara, De Agostini, 2006) e, con Carmen Dell’Ascenza, dei materiali di studio relativi alla Didattica della mediazione linguistica per il piano pluriennale di formazione “Poseidon”. L’attività di Carducci come traduttore di esempi significativi della produzione lirica in lingua tedesca merita un’attenzione particolare per la qualità pregevole degli esiti e soprattutto per la finalità dell’impresa che il poeta avvia; quella di mediare per i lettori italiani contenuti e forme non del tutto familiari. Non è un caso che una sezione intitolata alle “Versioni”, che contempla, fra l’altro, le due poesie dalle quali partiranno le mie riflessioni, vale a dire Tombe precoci e Notte d’estate, entrambe del pre-romantico Klopstock, appaia nella raccolta Odi barbare. Si tratta di rime e ritmi inusuali, ma le versioni
Recommended publications
  • By Testoeaccordi.It Vivimi – Laura Pausini

    By Testoeaccordi.It Vivimi – Laura Pausini

    Vivimi – Laura Pausini Sol Non ho bisogno più di niente Sim Mim7 Mim7 Do adesso che mi illumini d'amore immenso fuori e dentro Lam Mim7 Re credimi se puoi credimi se vuoi Lam Re7 Sol Re7 credimi e vedrai non finirà mai Sol Ho desideri scritti in alto Sim Mim7 Mim7 Do che volano ogni pensiero è indipendente dal mio corpo Lam Mim7 Re credimi se puoi credimi perché' Lam Re7 Sol farei del male solo e ancora a me Re Do Mim7 Qui grandi spazi e poi noi cieli aperti che ormai RE DO non si chiudono più c’è bisogno di vivere da qui Sol Rem Vivimi senza paura che sia una vita o che sia un'ora Do non lasciare libero o disperso Sol Lam Re questo mio spazio adesso aperto ti prego Sol Rem Vivimi senza vergogna anche se hai tutto il mondo contro Do lascia l'apparenza e prendi il senso Sol Lam Re e ascolta quello che ho qui dentro Sol Così diventi un grande quadro Sim Mim7 Mim7 Do che dentro me ricopre una parete bianca un po' anche stanca Lam Mim7 Re credimi se puoi credimi perché Lam Re7 Sol farei del male solo e ancora a me RE Do Mim7 Re Qui tra le cose che ho ho qualcosa di più che non ho avuto mai Do hai bisogno di vivermi di più Sol Rem Vivimi senza paura che sia una vita o che sia un'ora Do non lasciare libero o disperso Sol Lam Re questo mio spazio adesso aperto ti prego By TestoeAccordi.it Sol Rem Vivimi senza vergogna anche se hai tutto il mondo contro Do lascia l'apparenza e prendi il senso Sol Lam Re e ascolta quello che ho qui dentro Lam Mim Hai aperto in me la fantasia Lam Re le attese i giorni di un'illimitata gioia Lam MIm Hai preso me sei la regia Lam Re mi inquadri e poi mi sposti in base alla tua idea Sol Rem Vivimi senza paura anche se hai tutto il mondo contro Do lascia l'apparenza e prendi il senso Sol Lam Re Sol e ascolta quello che ho qui dentro By TestoeAccordi.it .
  • Milan Celtic in Origin, Milan Was Acquired by Rome in 197 B.C. an Important Center During the Roman Era (Mediolânum Or Mediola

    Milan Celtic in Origin, Milan Was Acquired by Rome in 197 B.C. an Important Center During the Roman Era (Mediolânum Or Mediola

    1 Milan Celtic in origin, Milan was acquired by Rome in 197 B.C. An important center during the Roman era (Mediolânum or Mediolanium), and after having declined as a medieval village, it began to prosper as an archiepiscopal and consular town between the tenth and eleventh centuries. It led the struggle of the Italian cities against the Emperor Frederick I (Barbarossa) at Legnano (1176), securing Italian independence in the Peace of Constance (1183), but the commune was undermined by social unrest. During the thirteenth century, the Visconti and Della Torre families fought to impose their lordship or signoria. The Viscontis prevailed, and under their dominion Milan then became the Renaissance ducal power that served as a concrete reference for the fairy-like atmosphere of Shakespeare’s The Tempest. Meanwhile, Milan’s archbishopric was influential, and Carlo Borromeo (1538-1584) became a leading figure during the counter-Reformation. Having passed through the rule of the Sforzas (Francesco Sforza ruled until the city was captured by Louis XII of France in 1498) and the domination of the Hapsburgs, which ended in 1713 with the war of the Spanish Succession, Milan saw the establishment of Austrian rule. The enlightened rule of both Hapsburg emperors (Maria Theresa and Joseph II) encouraged the flowering of enlightenment culture, which Lombard reformers such as the Verri brothers, Cesare Beccaria, and the entire group of intellectuals active around the journal Il caffè bequeathed to Milan during the Jacobin and romantic periods. In fact, the city which fascinated Stendhal when he visited it in 1800 as a second lieutenant in the Napoleonic army became, between the end of the eighteenth century and the beginning of the nineteenth century, a reference point in the cultural and social field.
  • Andrea Bocelli Dare to Live (Vivere)

    Andrea Bocelli Dare to Live (Vivere)

    Dare to live (Vivere) Andrea Bocelli Try looking at tomorrow not yesterday And all the things you left behind All those tender words you did not say The gentle touch you couldn't find In these days of nameless faces There is no one truth but only pieces My life is all i have to give Dare to live until the very last Dare to live forget about the past Dare to live giving something of yourself to others Even when it seems there's nothing more left to give Ma se tu vedessi l'uomo Davanti al tuo portone Che dorme avvolto in un cartone, Se tu ascoltassi il mondo una mattina Senza il rumore della pioggia, Tu che puoi creare con la tua voce, Tu, pensi i pensieri della gente, Poi, di Dio c'e solo Dio. Vivere, nessuno mai ce l'ha insegnato, Vivere, non si può vivere senza passato, Vivere è bello anche se non l'hai chiesto mai, Una canzone ci sarà, qualcuno che la canterà Dare to live searching for the ones you love (Perché, perché, perché, perché non vivi questa sera?) Dare to live no one but we all (Perché, perché, perché, perché non vivi ora?) Dare to live until the very last (Perché, perché, perché la vita non è vita) Your life is all you have to give (Perché) non l'hai vissuta Vivere! Dare to live until the very last (Perché, perché, perché Ia vita non è vita) Your life is all you have to give (Perché) non l'hai vissuta mai I will say no (I will say yes) Say dare to live Dare to live Tištěno z pisnicky-akordy.cz Sponzor: www.srovnavac.cz - vyberte si pojištění online! Powered by TCPDF (www.tcpdf.org).
  • Giovanni Raboni

    Giovanni Raboni

    Giovanni Raboni Né en 1932 à Milan, Giovanni Raboni étudie le droit et l’économie. Il travaillera comme conseiller juri- dique, puis comme conseiller éditorial chez Guanda. Nihil poeticum alienum: l’existence de G. Raboni est tout entière consacrée à la poésie. Il l’écrit, il la traduit, il l’édite et il la commente. Giovanni Raboni a été directeur d’importantes collections poétiques, notamment aux éditions Mondadori (Lo Specchio), Guanda (Quaderni della Fenice) et Marsilio (Poesia). Critique littéraire et théâtral au Corriere della Sera, il est aussi conseiller du Piccolo Teatro de Milan. Traducteur, il a donné une version remarquable des Fleurs du mal et une traduction intégrale d’À la recherche du temps perdu (1983-1993) mais il a aussi traduit Sophocle, Euri- pide, Shakespeare, Molière, Racine, Marivaux, Hugo, Claudel, T.S. Eliot. Il vient de publier la traduction bilingue d’un recueil de poèmes de J. C. Vegliante, son ami et traducteur : Nel lutto della luce (Einaudi, 2004). Bibliographie : Il catalogo è questo : quindici poesie (Lampugnani Nigri, 1961) ; L’insalubrità dell’aria (All’insegna del pesce d’oro, 1963) ; Le case della Vetra (Mondadori, 1966) ; Gesta Romanorum : 20 poesie (Lampugnani Nigri, 1967) ; Economia della paura (All’insegna del pesce d’oro, 1970) ; Cadenza d’inganno (Mondadori, 1975) ; La fossa di Cherubino (Guanda, 1980) ; Nel grave sogno (Mondadori, 1982) ; Canzonette mortali (Crocetti, 1986) ; A tanto caro sangue : poesie 1953-1987 (Mondadori, 1988) ; Transeuropa (Mon- dadori, 1988) ; Il più freddo anno di grazia (San Marco dei Giustiniani, 1977) ; Versi guerrieri e amorosi (Einaudi, 1990) ; Un gatto più un gatto (Mondadori, 1991) ; Ogni terzo pensiero (Mondadori, 1993) ; Nel libro della mente (Libri Scheiwiller, 1997) ; Quare tristis (Mondadori, 1998).
  • Song As the Memory of Language in the Arbëresh Community of Chieuti

    Song As the Memory of Language in the Arbëresh Community of Chieuti

    MY HEART SINGS TO ME: Song as the Memory of Language in the Arbëresh Community of Chieuti Sara Jane Bell A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum in Folklore. Chapel Hill 2011 Approved by: Dr. Robert Cantwell (Chair) Dr. William Ferris Dr. Louise Meintjes Dr. Patricia Sawin ABSTRACT SARA JANE BELL: My Heart Sings to Me: Song as the Memory of Language in the Arbëresh Community of Chieuti (Under the Direction of Robert Cantwell, Chair; William Ferris; Louise Meintjes; and Patricia Sawin) For the people of Chieuti who grew up speaking the Albanian dialect that the inhabitants of their Arbëresh town in the Italian province of Puglia have spoken for more than five centuries, the rapid decline of their mother tongue is a loss that is sorely felt. Musicians and cultural activists labor to negotiate new strategies for maintaining connections to their unique heritage and impart their traditions to young people who are raised speaking Italian in an increasingly interconnected world. As they perform, they are able to act out collective narratives of longing and belonging, history, nostalgia, and sense of place. Using the traditional song “Rine Rine” as a point of departure, this thesis examines how songs transmit linguistic and cultural markers of Arbëresh identity and serve to illuminate Chieuti’s position as a community poised in the moment of language shift. ii For my grandfather, Vincenzo Antonio Belpulso and for the children of Chieuti, at home and abroad, who carry on.
  • WOP SONG: TUNE & ECHO a Stage Play with Music Written by Vian Andrews Italian Translation by Claudio Ginocchietti Fourth

    WOP SONG: TUNE & ECHO a Stage Play with Music Written by Vian Andrews Italian Translation by Claudio Ginocchietti Fourth

    WOP SONG: TUNE & ECHO A Stage Play with Music Written by Vian Andrews Italian translation by Claudio Ginocchietti Fourth Revision completed 10 Feb '17 Based on an original idea Copyright October 2016 Vian Andrews 4583 Neville Street Burnaby, BC V5J 3G9 778-378-7954 WOPSONG: TUNE & ECHO ACT 1 A sunny piazza in the dilapidated, dun-colored village of Calabro in the mountains of southern Italy, 2016. On the left, the main door to the village church, on the right a cafe whose sign is badly in need of repainting, with two tables with chairs. In between the church and the cafe there is a row of three drab houses. On the first house and third house a shutter or two is open, but the shutters of the center house are closed and one or two are hanging askew. A small riser stands in front of the center house. Two older men play cards at one of the cafe tables. An old woman, dressed in black, sits on the stoop of the first house, taking in the scene while absentmindedly gnashing her teeth. Suddenly the blast of a horn from an arriving bus is heard off left, making the old woman and the men jump. Father Sarducci, the town priest opens the door of the church and steps out at the same time, Gaetano, the owner of the cafe and his wife, Giuseppina, step out of the cafe to find out what is going on. The voices of three men singing Bon Jovi’s This House is Not for Sale is heard coming from the direction of the bus.
  • Journal of Italian Translation

    Journal of Italian Translation

    Journal of Italian Translation JIT24.indb 1 2/22/2018 12:27:54 PM Journal of Italian Translation is an international Editor journal devoted to the translation of literary works Luigi Bonaffini from and into Italian-English-Italian dialects. All translations are published with the original text. It also publishes essays and reviews dealing with Associate Editors Gaetano Cipolla Italian translation. It is published twice a year. Michael Palma Submissions should be in electronic form. Joseph Perricone Translations must be accompanied by the original texts, a brief profile of the translator, and a brief profile of the author. Original texts and transla- Assistant Editor tions should be on separate files. All submissions Paul D’Agostino and inquiries should be addressed to l.bonaffini@ att.net Book reviews should be sent to Paolo Spedi- Editorial Board Adria Bernardi cato: [email protected]. Geoffrey Brock Franco Buffoni Website: www.jitonline.org Barbara Carle Peter Carravetta Subscription rates: John Du Val U.S. and Canada. Individuals $30.00 a year, Luigi Fontanella $50 for 2 years. Anna Maria Farabbi Institutions $35.00 a year. Rina Ferrarelli Single copies $18.00. Irene Marchegiani Francesco Marroni For all mailing abroad please add $15 per Sebastiano Martelli issue. Payments in U.S. dollars. Make checks Anthony Molino payable to Journal of Italian Translation, Dept. of Stephen Sartarelli Modern Languages and Literatures, 2900 Bedford Cosma Siani Ave. Brooklyn, NY 11210 . Marco Sonzogni Joseph Tusiani Journal of Italian Translation
  • Primo-Levi-The-Voice-Of-Memory

    Primo-Levi-The-Voice-Of-Memory

    THE VOICE OF MEMORY PRIMO LEVI Interviews, 1961-1987 Edited by M A R C 0 B E L P 0 L I T I and R 0 B E R T G 0 R D 0 N "Primo Levi is one of the most important and gifted writers of our time." -ITALO CALVINO The Voice of Memory The Voice of Memory Interviews 1961-1987 Primo Levi Edited by Marco Belpoliti and Robert Gordon Translated by Robert Gordon The New Press New York This collection © 2001 by Polity Press First published in Italy as Primo Levi: Conversazioni e interviste 1963-87, edited by Marco Belpoliti © 1997 Guilio Einaudi, 1997, with the exception of the interviews beginning on pages 3, 13, 23, and 34 (for further details see Acknowledgments page). All rights reserved. No part of this book may be reproduced, in any form, without written permission from the publisher. First published in the United Kingdom by Polity Press in association with Blackwell Publishers Ltd, 2001 Published in the United States by The New Press, New York, 2001 Distributed by W.W. Norton & Company, Inc., New York ISBN 1-56584-645-1 (he.) CIP data available. The New Press was established in 1990 as a not-for-profit alternative to the large, commercial publishing houses currently dominating the book publishing industry. The New Press operates in the public interest rather than for private gain, and is committed to publishing, in innovative ways, works of educational, cultural, and community value that are often deemed insufficiently profitable. The New Press, 450West 41st Street, 6th floor, NewYork, NY 10036 www.thenewpress.com Set in Plantin Printed in the
  • Catalogo 1976-2020 Le Collane Delle Edizioni San Marco Dei Giustiniani in Genova

    Catalogo 1976-2020 Le Collane Delle Edizioni San Marco Dei Giustiniani in Genova

    PREMIO NAZIONALE PER LA TRADUZIONE 2001 assegnato dal Ministero per i Beni e le Attività Culturali i an ni sti iu G ei d co a ar ov M en an G i S in on izi Ed go alo 0 at 02 C -2 76 19 Le collane delle Edizioni San Marco dei Giustiniani in Genova CATALOGO STORICO Quaderni di poesia pag. 1 Poeti della Riva Sud del Mediterraneo pag. 5 La Biblioteca ritrovata pag. 6 Quaderni del tempo pag. 9 Quaderni sbarbariani pag. 12 pag. 13 Quaderni in lettere d’azzurro i libri possibili pag. 14 I Quaderni della Fondazione pag. 14 I Cataloghi della Fondazione pag. 15 Quaderni di musica pag. 16 i Fu oric ollana pag. 16 Pietre di luna pag. 18 Altri titoli pag. 19 Il leudo pag. 20 Tras parenze (rivista) pag. 21 1 Quaderni di poesia Günter Grass Ventisette poesie (testo a fronte) tradotto e presentato da G. Cusatelli, introduzione di M. Luzi Dei volumi contrassegnati da asterisco è stata stampata anche un’edizione per bibliofili (in 65 esemplari) contenente una acqua - 1979, pp. 84, € 15,00 – * acquaforte di D. Bec forte appositamente eseguita. Franco Fortini Una obbedienza Alfonso Gatto con una prefazione di A. Zanzotto Lapide 1975 ed altre cose 1980, pp. 72, esaurito – * acquaforte di E. Morlotti con una prefazione di G. Vigorelli e uno scritto di G. Caproni 1976, pp. 44, esaurito – * acquaforte di G. Soffiantino Gyula Illyes La vela inclinata (testo a fronte) Biagio Marin tradotto e presentato da U. Albini, introduzione di G. Raboni Pan de pura farina 1980, pp.
  • Catalogo Febbraio 2017 Progetto 01 02 2017 Layout 1 01/02/17 15.57 Pagina II

    Catalogo Febbraio 2017 Progetto 01 02 2017 Layout 1 01/02/17 15.57 Pagina II

    PREMIO NAZIONALE PER LA TRADUZIONE 2001 assegnato dal Ministero per i Beni e le Attività Culturali Progetto_01_02_2017_Layout 1 01/02/17 15.57 Pagina I in Genova Edizioni San Marco dei Giustiniani 2017 Catalogo febbraio Progetto_01_02_2017_Layout 1 01/02/17 15.57 Pagina II Le collane delle Edizioni San Marco dei Giustiniani in Genova CATALOGO STORICO Quaderni di poesia pag. 1 Poeti della Riva Sud del Mediterraneo pag. 5 La Biblioteca ritrovata pag. 6 Quaderni del tempo pag. 9 Quaderni sbarbariani pag. 12 pag. 13 Quaderni in lettere d’azzurro I Quaderni della Fondazione pag. 14 I Cataloghi della Fondazione pag. 15 Quaderni di musica pag. 16 i Fuoricollana pag. 16 Pietre di luna pag. 18 Altri titoli pag. 19 Il leudo pag. 20 Trasparenze (rivista) pag. 21 Indice degli autori pag. 25 Indice dei titoli pag. 35 Progetto_01_02_2017_Layout 1 01/02/17 15.57 Pagina 1 1 Quaderni di poesia Günter Grass Ventisette poesie (testo a fronte) tradotto e presentato da G. Cusatelli, introduzione di M. Luzi Dei volumi contrassegnati da asterisco è stata stampata anche un’edizione per bibliofili (in 65 esemplari) contenente una acqua- 1979, pp. 84, € 15,00 – * acquaforte di D. Bec forte appositamente eseguita. Franco Fortini Una obbedienza Alfonso Gatto con una prefazione di A. Zanzotto Lapide 1975 ed altre cose 1980, pp. 72, esaurito – * acquaforte di E. Morlotti con una prefazione di G. Vigorelli e uno scritto di G. Caproni 1976, pp. 44, esaurito – * acquaforte di G. Soffiantino Gyula Illyes La vela inclinata (testo a fronte) Biagio Marin tradotto e presentato da U. Albini, introduzione di G.
  • After Autarchy: Male Subjectivity from Carlo Emilio Gadda to the Gruppo '63

    After Autarchy: Male Subjectivity from Carlo Emilio Gadda to the Gruppo '63

    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title After Autarchy: Male Subjectivity from Carlo Emilio Gadda to the Gruppo '63 Permalink https://escholarship.org/uc/item/47j0f3mh Author Falkoff, Rebecca Ruth Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California After Autarchy: Male Subjectivity from Carlo Emilio Gadda to the Gruppo 63 by Rebecca Ruth Falkoff A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Barbara Spackman, Chair Professor Albert Ascoli Professor Mia Fuller Professor Harsha Ram Professor Alessia Ricciardi Spring 2012 Abstract After Autarchy: Male Subjectivity from Carlo Emilio Gadda to the Gruppo ‘63 by Rebecca Ruth Falkoff Doctor of Italian Studies University of California, Berkeley Professor Barbara Spackman, Chair After Autarchy: Male Subjectivity from Carlo Emilio Gadda to the Gruppo ‘63 traces an indirect but enduring legacy of Italian fascism in models of male subjectivity and literature in writing by Carlo Emilio Gadda and two members of the short-lived, loose-knit, but nonetheless influential literary association, the Gruppo ’63: Giorgio Manganelli and Luigi Malerba. As critics have noted, experimentalist writers of the 1960s find an aesthetic ideal in Gadda because of his baroque stylistics, particularly the use of digressive narrative trajectories and a multiplicity of languages, dialects, and registers in ways incongruous with linguistic realism. The dissertation raises the stakes of these stylistic affinities between Gadda and the writers he inspires by drawing parallels between his autarchic writings and theories of subjectivity and aesthetics that emerge from his fiction, as well as texts by Manganelli and Malerba.
  • Italo Calvino the Sun and the Moon Cesare Cases

    Italo Calvino the Sun and the Moon Cesare Cases

    OCTOBER 1986 THE ITALIAN REVIEW OF BOOKS - LIT. 5.000 Tullio Pericoli: Italo Calvino Italo Calvino The Sun and the Moon by Natalia Ginzburg Cesare Cases: Rethinking the Absurd Salvatore Settis: The Importance of Being Originai Giorgio Caproni: Sbarbaro s Asparagus Francis Haskell: The Enlightenment of Franco Venturi pag. 2 L'INDICE N.8 • dei libri del meseBì A Note front the Editor As the subtitle of this special issue indicates, "L'In- Wie der Untertitel dieser Sonderausgabe verrat, dice" likes to think of itself as the Italian review of books. versteht sich "L'Indice" als die italienische True, it is a mere two years old: but it has illustrious Buchkritikzeitschrift. Sie existiert zwar erst seit zwei foster parents, and like most children it strives to live up Jahren, hat aber dafiir illustre Vorfahren und ist bemiiht, to their fame while maintaining a distinct identity of its ihren Ruf zu nahren, indem sie eine klare Eigenidentitat own. Though published in Italian, it hopes to build up a aufrechterhàlt. Obwohl sie nur auf Italienisch erscheint, readership in other countries. hofft sie auf weitere Leserschaft aufierhalb Italiens. This special issue in English offers a sample for those Diese Sonderausgabe auf Englisch bietet eine who do not read Italian but are interested in Italian Kostprobe fiir diejenigen, die zwar kein Italienisch books. It is, of course, much briefer than a regular verstehen, aber an italienischen Buchern interessiert sind. monthly issue (only 16 pages instead of 48, reviewing up- Natiirlich ist sie mit nur 16 gegeniiber 48 Seiten einer wards of a hundred books); stili, we trust that it will give regularen Monatsausgabe, welche iiber 100 the reader a good idea of the kind of service "L'Indice" of- Neuerscheinungen rezensiert, wesentlich kiirzer gefafit; fers.