{"title":"Natalia Ginzburg e Adriana Motti: due traduttrici per i romanzi di Ivy Compton-Burnett","authors":"T. Franco","doi":"10.1080/02614340.2021.2004692","DOIUrl":null,"url":null,"abstract":"ABSTRACT This article analyses the role played by Natalia Ginzburg and Adriana Motti in the Italian reception of the English writer Ivy Compton-Burnett during the 1960s. Drawing on archival documents held at the Fondazione Einaudi in Turin and on theories of translation that assimilate this literary practice to reading (Spivak, Calvino), my contribution aims to demonstrate how both Ginzburg and Motti responded to the same ideal of translation, as practised at the Einaudi publishing house. I also illustrate how a case of traduction manqué in Ginzburg’s career gave rise, on the one hand, to a new creative phase and, on the other, to a symbolic passing of the baton to Motti, a silent and expert translator, who was given the task of inventing an Italian voice for this brilliant writer.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"41 1","pages":"406 - 423"},"PeriodicalIF":0.3000,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Italianist","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/02614340.2021.2004692","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 1
Abstract
ABSTRACT This article analyses the role played by Natalia Ginzburg and Adriana Motti in the Italian reception of the English writer Ivy Compton-Burnett during the 1960s. Drawing on archival documents held at the Fondazione Einaudi in Turin and on theories of translation that assimilate this literary practice to reading (Spivak, Calvino), my contribution aims to demonstrate how both Ginzburg and Motti responded to the same ideal of translation, as practised at the Einaudi publishing house. I also illustrate how a case of traduction manqué in Ginzburg’s career gave rise, on the one hand, to a new creative phase and, on the other, to a symbolic passing of the baton to Motti, a silent and expert translator, who was given the task of inventing an Italian voice for this brilliant writer.
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