Pub Date : 2021-12-01DOI: 10.30687/978-88-6969-579-7
A. Sáez
In Cervantes’ The Lawyer of Glass there is a great praise of Venice, which is described as “the admiration of all mankind” because of its “infinite riches, her most wise government” and other values that makes it only similar to “the great Mexico”. With this invitation, this book collects the three key-note lectures and a selection of the presentations given at the 14th Coloquio Internacional de la Asociación de Cervantistas (2-4 October 2019), mostly about Cervantes’ theatre, reception and Italian relationships. At the same time, the volume pays tribute to Donatella Pini and Carlos Romero Muñoz, organisers of the classic series “Giornate cervantine”.
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Pub Date : 2021-07-05DOI: 10.30687/978-88-6969-505-6
D. Corsi, Cèlia Nadal Pasqual
Iberian Studies have developed in the last quarter of a century to the point of making one speak of a real Iberian Turn. Starting from the rejection of the classic scheme that places the two states (Portugal and Spain) as privileged agents of the representation of the Iberian space, the proposal of the Iberian Studies is to work on the system of historical exchanges and interferences that have shaped the cultural fabric of the peninsula, investigating both the points of connection as much as those of the fracture between its different realities (such as the Basque, Catalan and Galician ones, as well as the Castilian and Lusitanian ones). Accompanied by a “Reasoned Bibliography on Iberian Studies and Iberian Studies from Italy”, this volume examines the state of the art, with particular attention to the Italian context, in which these researches show a still unequal rooting and diffusion. A first section, dedicated to a general framework of the discipline and the exposition of theoretical issues and method problems, is followed by a second that presents critical contributions that address individual case studies. Born in part as a reaction to the so-called “crisis of Hispanism”, Iberian Studies offer themselves as an alternative to the traditional model of peninsular Hispanism, to its uninational and monolingual paradigm. They also place the emphasis on diversity and the relational aspect, looking with suspicion at every hegemonic design aimed at establishing a “centre” within a heterogeneous cultural landscape. Attentive to the phenomena of immigration and linguistic minorities, to the colonial past and relations with the Latin American world, but also to the themes of comparativism, translation, theory and the rethinking of criticism, Iberian Studies are a field in which not only debates about literature and the arts are included, but also about ideology.
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Pub Date : 2021-01-30DOI: 10.30687/978-88-6969-460-8
Roger Canadell, Josep-Anton Fernàndez, I. Teresa
This book is an invitation to read a selection of narratives of violence with the purpose of fostering global imaginaries based on respect, recognition, and empathy, especially towards those who are most vulnerable. It offers critical readings of nine works of various genres, originally written in different languages, by Caterina Albert (Catalonia), Mrīrīda n’ait ‘Atiq (Morocco), Eva Koch (Denmark), Pius Alibek (Iraq-Catalonia), Janina Hescheles (Poland), Leila Abdelrazaq (Palestine), María Galindo and Sonia Sánchez (Argentina), Arundhati Roy (India), and Juan Pablo Villalobos (Mexico).
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Pub Date : 2020-12-22DOI: 10.30687/978-88-6969-490-5/014
B. Baczyńska
This essay presents Polish translations of La vida es sueño (Life is a dream) and El príncipe constante (The constant prince) to provide a survey of the historical and cultural context of Calderón’s reception in Poland.
{"title":"En busca del príncipe polaco calderoniano\u0000 Las traducciones de La vida es sueño de Pedro Calderón de la Barca y la presencia del teatro clásico español en Polonia","authors":"B. Baczyńska","doi":"10.30687/978-88-6969-490-5/014","DOIUrl":"https://doi.org/10.30687/978-88-6969-490-5/014","url":null,"abstract":"This essay presents Polish translations of La vida es sueño (Life is a dream) and El príncipe constante (The constant prince) to provide a survey of the historical and cultural context of Calderón’s reception in Poland.","PeriodicalId":288445,"journal":{"name":"Biblioteca di Rassegna iberistica","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117214222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.30687/978-88-6969-490-5/021
Nadine Ly
This essay takes on and reorganises the elements brought forth at the time of the round table conference To translate Lope, coordinated by Renata Londero in October 2019. It considers the place that the Spanish baroque theatre occupies today in the French context. It mentions some translations of Lope de Vega in accordance with the taste of the public and it analyses a successful Spanish adaptation of El acero de Madrid. Attending to the translation in prose of the play (Gallimard, 1994), it evokes the method chosen by translators and presents some ecdotic and linguistic questions and their impact on the translation. It ends on a more personal note.
{"title":"Traducir a Lope: El acero de Madrid","authors":"Nadine Ly","doi":"10.30687/978-88-6969-490-5/021","DOIUrl":"https://doi.org/10.30687/978-88-6969-490-5/021","url":null,"abstract":"This essay takes on and reorganises the elements brought forth at the time of the round table conference To translate Lope, coordinated by Renata Londero in October 2019. It considers the place that the Spanish baroque theatre occupies today in the French context. It mentions some translations of Lope de Vega in accordance with the taste of the public and it analyses a successful Spanish adaptation of El acero de Madrid. Attending to the translation in prose of the play (Gallimard, 1994), it evokes the method chosen by translators and presents some ecdotic and linguistic questions and their impact on the translation. It ends on a more personal note.","PeriodicalId":288445,"journal":{"name":"Biblioteca di Rassegna iberistica","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134099575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.30687/978-88-6969-490-5/005
S. Kroll
This article seeks to give a first and comprehensive impression on the different stages of translations from Spanish Baroque theatre into German. While in the 17th and 18th centuries that contact is usually established through Dutch, Italian and French translations, it is at the beginning of the 19th century that key figures of the German Romanticism translate theatrical plays of the Spanish Baroque with a strong focus on formal aspects and philological accuracy. Nevertheless, this article shows that the first contacts between Golden Age theatre and Germany are much older than generally assumed and that the influence of Calderón and Lope on the creation of a German theatre tradition might be much stronger than it is commonly thought. Therefore, this article calls for a more profound study of the circulation of Spanish Golden Age theatre in Europe.
{"title":"El teatro clásico español en Alemania\u0000 Cuatro siglos y veinte años de recepción","authors":"S. Kroll","doi":"10.30687/978-88-6969-490-5/005","DOIUrl":"https://doi.org/10.30687/978-88-6969-490-5/005","url":null,"abstract":"This article seeks to give a first and comprehensive impression on the different stages of translations from Spanish Baroque theatre into German. While in the 17th and 18th centuries that contact is usually established through Dutch, Italian and French translations, it is at the beginning of the 19th century that key figures of the German Romanticism translate theatrical plays of the Spanish Baroque with a strong focus on formal aspects and philological accuracy. Nevertheless, this article shows that the first contacts between Golden Age theatre and Germany are much older than generally assumed and that the influence of Calderón and Lope on the creation of a German theatre tradition might be much stronger than it is commonly thought. Therefore, this article calls for a more profound study of the circulation of Spanish Golden Age theatre in Europe.","PeriodicalId":288445,"journal":{"name":"Biblioteca di Rassegna iberistica","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127783359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.30687/978-88-6969-490-5/022
K. Vaiopoulos
Today, on Italian stages, the Spanish Golden Age theatre is almost unknown. To explain this absence, we must take into account both reasons related to Italian stage culture and linguistic reasons. First of all, it should be noted that this theatre is perceived as something far from our scenic customs, especially because it has been transmitted according to a very partial and topical vision. This is the reason why, when translating texts, it is necessary to deepen the knowledge of the starting context (Baroque Spanish culture, Lope de Vega, his comedies, other texts belonging to the same years and genre). Secondly, this absence is due to formal reasons, mostly the problem of verses.
{"title":"Traducir comedias de Lope al italiano\u0000 De Las bizarrías de Belisa a L’audace Belisa","authors":"K. Vaiopoulos","doi":"10.30687/978-88-6969-490-5/022","DOIUrl":"https://doi.org/10.30687/978-88-6969-490-5/022","url":null,"abstract":"Today, on Italian stages, the Spanish Golden Age theatre is almost unknown. To explain this absence, we must take into account both reasons related to Italian stage culture and linguistic reasons. First of all, it should be noted that this theatre is perceived as something far from our scenic customs, especially because it has been transmitted according to a very partial and topical vision. This is the reason why, when translating texts, it is necessary to deepen the knowledge of the starting context (Baroque Spanish culture, Lope de Vega, his comedies, other texts belonging to the same years and genre). Secondly, this absence is due to formal reasons, mostly the problem of verses.","PeriodicalId":288445,"journal":{"name":"Biblioteca di Rassegna iberistica","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125839428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.30687/978-88-6969-490-5/017
Eugenio Maggi
The article analyses The Purgatory of Saint Patrick, a translation of Calderón’s El purgatorio de San Patricio which the Irish poet Denis Florence MacCarthy (1817-82) published in two versions, one in 1853 and one in 1873. The comparison of the two texts shows how MacCarthy, as a lucid importer of the Catholic and Baroque Calderón in a predominantly hostile Anglophone culture, progressively refined his poetics of translation, adopting in particular a completely imitative versification (including a bold assonant English verse) and showing a growing, if eclectic, fidelity to the Calderonian rhetorical universe.
本文分析了爱尔兰诗人丹尼斯·弗洛伦斯·麦卡锡(Denis Florence mccarthy, 1817-82)在1853年和1873年出版的《圣帕特里克炼狱》(The Purgatory of Saint Patrick)译自Calderón的《圣帕特里克炼狱》(El purgatorio de San Patricio)。两个文本的比较显示了麦卡锡，作为天主教和巴洛克风格的清晰进口商Calderón在一个主要敌对的英语文化中，他是如何逐步完善他的翻译诗学的，特别是采用完全模仿的诗体(包括大胆的英语韵文)，并显示出对卡尔德隆修辞世界的日益忠诚，如果折衷的话。
{"title":"Las dos traducciones de El purgatorio de San Patricio por Denis Florence MacCarthy (1853 y 1873)\u0000 Primeras calas","authors":"Eugenio Maggi","doi":"10.30687/978-88-6969-490-5/017","DOIUrl":"https://doi.org/10.30687/978-88-6969-490-5/017","url":null,"abstract":"The article analyses The Purgatory of Saint Patrick, a translation of Calderón’s El purgatorio de San Patricio which the Irish poet Denis Florence MacCarthy (1817-82) published in two versions, one in 1853 and one in 1873. The comparison of the two texts shows how MacCarthy, as a lucid importer of the Catholic and Baroque Calderón in a predominantly hostile Anglophone culture, progressively refined his poetics of translation, adopting in particular a completely imitative versification (including a bold assonant English verse) and showing a growing, if eclectic, fidelity to the Calderonian rhetorical universe.","PeriodicalId":288445,"journal":{"name":"Biblioteca di Rassegna iberistica","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122049693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.30687/978-88-6969-490-5
Claudia Demattè, Eugenio Maggi, Marco Presotto
El volumen tiene el objetivo de profundizar el tema de la traducción del teatro clásico español en la época contemporánea para ofrecer al lector un panorama de las modalidades de irradiación de este patrimonio artístico en los distintos ámbitos lingüísticos y culturales. Se recogen ensayos de carácter sociológico, literario y traductológico, además de contribuciones relativas a la experiencia de la traducción, descrita a menudo directamente por su protagonistas. Se añaden aportaciones más específicamente bibliográficas con el objetivo de contribuir a la constitución de un repertorio de estos particulares productos editoriales.
{"title":"La traducción del teatro clásico español (siglos XIX-XXI)","authors":"Claudia Demattè, Eugenio Maggi, Marco Presotto","doi":"10.30687/978-88-6969-490-5","DOIUrl":"https://doi.org/10.30687/978-88-6969-490-5","url":null,"abstract":"El volumen tiene el objetivo de profundizar el tema de la traducción del teatro clásico español en la época contemporánea para ofrecer al lector un panorama de las modalidades de irradiación de este patrimonio artístico en los distintos ámbitos lingüísticos y culturales. Se recogen ensayos de carácter sociológico, literario y traductológico, además de contribuciones relativas a la experiencia de la traducción, descrita a menudo directamente por su protagonistas. Se añaden aportaciones más específicamente bibliográficas con el objetivo de contribuir a la constitución de un repertorio de estos particulares productos editoriales.","PeriodicalId":288445,"journal":{"name":"Biblioteca di Rassegna iberistica","volume":"127 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122106169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.30687/978-88-6969-490-5/019
Marcella Trambaioli
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.
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。
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