Il cane dell’ortolano de Lope de Vega según Ameyden, Gasparetti y Fiorellino

Marcella Trambaioli
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Abstract

Lope de Vega’s posthumous fame in Italy differs according to the ages: if in the 17th century he was really appreciated and his dramas and comedies were often translated, adapted and represented, nowadays he’s practically absent in the dramatic production and there are just a few titles available in Italian translation. This also happens for his masterpieces. The case of El perro del hortelano is quite interesting, since there are three versions, by Ameyden, Gasparetti and Fiorellino, belonging to different periods and different conceptions of translation and literary taste. This article tries to analyse them in a comparative perspective.
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洛佩·德·维加死后在意大利的名声因时代不同而不同:如果在17世纪,他真的很受欢迎,他的戏剧和喜剧经常被翻译、改编和呈现,现在他在戏剧作品中几乎是缺席的,只有少数几部意大利语翻译的作品。他的杰作也是如此。El perro del hortelano的案例非常有趣,因为有三个版本,阿梅登,加斯帕雷蒂和菲奥雷里诺,属于不同的时期和不同的翻译和文学品味的概念。本文试图从比较的角度对其进行分析。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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