Relevant bibliographies by topics / Italian drama – Translations into English

Academic literature on the topic 'Italian drama – Translations into English'

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Published: 4 June 2021
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Journal articles on the topic "Italian drama – Translations into English"

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Bibbò, Antonio. "Irish Theatre in Italy during the Second World War: translation and politics." Modern Italy 24, no. 1 (October 11, 2018): 45–61. http://dx.doi.org/10.1017/mit.2018.33.

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Irish drama underwent an extraordinary rediscovery in Italy during the Second World War, primarily because of its political convenience (Ireland was a neutral nation) but also because of its aesthetic significance. Through an analysis of the role of key mediators I employ Irish literature as a lens to investigate a crucial moment of renewal within both Italian politics and theatre, emphasising strands of continuity between Fascist and post-Fascist practices. First, I show how a wartime ban on English and American plays prompted an interest in Irish drama and the fluid status of the Irish canon enabled authors of Irish origin (e.g. Eugene O’Neill), to be affiliated with Irish literature. I then move on to considering how this very fluidity facilitated the daring rebranding of Irish theatre as anti-fascist in Paolo Grassi’s ‘Collezione Teatro’, a key step in his position-taking at the centre of Italy’s theatrical field. Ireland was a substitute for England and appeared on Italian (political and literary) maps mainly thanks to its anti-English function. However, despite the politically inflected motivation of the various, often contrasting uses of the category ‘Irish drama’ in wartime Italy, this was the first time Irish literature had been widely acknowledged as a specific tradition within the Anglosphere in Italy.
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Silver, Cassandra. "Making the Bedouins: Code-Switching as Model for the Translation of Multilingual Drama." Theatre Research in Canada 38, no. 2 (November 2017): 201–18. http://dx.doi.org/10.3138/tric.38.2.201.

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The translation of theatre from one linguistic and cultural context to another can be uniquely challenging; these challenges are multiplied when the source text is itself multilingual. René-Daniel Dubois’s Ne blâmez jamais les Bédouins, translated into English under the name Don’t Blame the Bedouins by Martin Kevan, unfolds in English, French, Italian, German, Russian, and Mandarin. The original “French” text presents as postdramatic, deconstructing language and identity in a sometimes frenetic pastiche. Kevan’s “Anglophone” text, however, resists the postdramatic deconstruction in the original, instead bulking up Dubois’ macaronic and archetype-heavy collage with some attempts at psychological depth. Because of its polyglossic complexity and because it has been translated, published, and produced in both English and French, it proves an excellent case study that allows for an in-depth analysis of how multilingual theatrical translation can be carried out. I propose that Kevan’s translation of Dubois’ play exhibits not only textual and performative translation, but that he also translates the linguistically-coded aesthetic conventions that distinguish Quebecois and English Canadian drama and their respective audiences. Kevan shows sensitivity to the gap between the politics of language in French and English Canada as well as to the gap between theatrical codes in both linguistic communities by amplifying the psychological realism and consequently tempering the language politics in his “English” version of Dubois’s work. The choices that Kevan made in his translation are here elucidated by borrowing linguistic theories of conversational code-switching to analyze both versions of the play.
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Lappo-Danilevskii, Konstantin Yu. "N. M. Karamzin’s Literary Transfer." Slovene 10, no. 2 (2021): 353–66. http://dx.doi.org/10.31168/2305-6754.2021.10.2.15.

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[Rev. of: Kafanova O. B., Perevody N. M. Karamzina kak kul’turnyi universum. St. Petersburg: Aleteiia, 2020. 356 p. (in Russian)] O. B. Kafanova’s monograph «N. M. Karamzin’s translations as a cultural universe» (2020) is the result of many years of comparative studies. Numerous articles on the topic preceded this book, which covers the period from 1783 to 1800. In the beginning Karamzin had good knowledge of French and German only so that he used numerous intermediaries in these languages to acquaint the Russian audience with world literature (ancient and eastern poetry, dramas of Shakespeare, Ossian etc.). Only in the final decade of the eighteenth century did Karamzin begin to draw on texts in English and Italian for these purposes. Among other things, the review establishes some previously unknown sources of Karamzin’s translations. V. I. Simankov’s supplemental list pursues the same objective.
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Salvadori (book author), Corinna, Peter Brand (book author), Richard Andrews (book author), and Pamela Arancibia (review author). "Overture to the Opera. Italian Pastoral Drama in the Renaissance. Poliziano’s Orfeo and Tasso’s Aminta with Facing English Verse Translations." Quaderni d'italianistica 34, no. 2 (March 30, 2014): 178–79. http://dx.doi.org/10.33137/q.i..v34i2.21046.

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Plastow, Jane. "Theatre of Conflict in the Eritrean Independence Struggle." New Theatre Quarterly 13, no. 50 (May 1997): 144–54. http://dx.doi.org/10.1017/s0266464x00011003.

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Eritrea is a newly independent country whose performing arts history, based on the music and dance of her nine ethnic groups, is only just beginning to be systematically researched. Western-influenced drama was introduced to the country by the Italians in the early twentieth century, but Eritreans only began to use this form of theatre in the 1940s. The three-part series here inaugurated is the first attempt to piece together the history of Eritrean drama, beginning below with an outline of its history from the 1940s to national independence in 1991. The author explores the highly political role drama played from the outset in Eritrea's struggle towards independence and the effort to mould this alien performance form into a public voice at least for urban Eritreans. Later articles will look at the cultural troupes of the Eritrean liberation forces and at post-independence work on developing community-based theatre. The research took place as part of the continuing Eritrea Community Based Theatre Project, which is involved with practical theatre development as well as theatre research. Although this opening article is written by Jane Plastow, she wishes to stress that it is the upshot of a collaborative research exercise, for which Elias Lucas and Jonathan Stephanus were research trainees. Most of the information used here is the result of interviews they conducted and of translations of articles in Tigrinya or Amharic which they located. Training in interview techniques and collaboration over translation of material into English was conducted by the project research assistant, Paul Warwick. Jane Plastow is the director of the Eritrea Community Based Theatre Project and a lecturer at Leeds University. She initiated the project at the invitation of the Eritrean government, after working in theatre for some years in a number of African countries, notably Ethiopia. She supervised the research for this project, and used her experience of African theatre and of the politics and history of the region to draw the available material into its present state as a preliminary history of Eritrean drama.
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Reid, Gregory J. "Face to Face: A Conversation With Vittorio Rossi." Theatre Research in Canada 21, no. 2 (January 2000): 177–94. http://dx.doi.org/10.3138/tric.21.2.177.

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With productions of nine of his plays behind him (including his translation of Eduardo de Filippo's Filumena for the Stratford Festival in 1997), playwright and actor Vittorio Rossi has become one of Canada's best-known dramatists of Italian origin. He began his writing career by winning the Best New Play Award at the Quebec Drama Festival twice: for "Little Blood Brother" in 1986 and for "Backstreets" in 1987. His first full-length play, The Chain, broke attendance records at Centaur Theatre, English Quebec's main stage. His most acclaimed drama, The Last Adam, won the Canadian Authors Association Literary Award for Drama in 1996. Rossi's career as an actor, in addition to his work in his own plays, has included roles in such films as Snake Eater II: The Drug Buster (1991), Canvas: The Fine Art of Crime (1992), Le Sphinx (1995), Strip Search (1997), Suspicious Minds (1997), and the award-winning Post Mortem (1999); and televison series such as Malarek (1989), Urban Angel (1991), Bonanno: A Godfather's Story (1999) and the number-one-rated television show in Quebec for its three-year run, Omerta (1996, 1997, 1998). I met with Rossi at the Café Via Crescent on Crescent Street in Montreal, December 8, 1999. We discussed the situation of actors in Canada, the process of translation and adaptation, the background of the plays and his reaction to their critical reception, and his work in progress: the film adaptation of a crime novel for Denys Arcand, the scripting of a television series with Luc Dionne (creator of Omerta) and the film adaptation and production of Rossi's own shoe-store drama Scarpone.
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Schneider, Federico. "Corinna Salvadori, Peter Brand, and Richard Andrews, eds. Overture to the Opera: Italian Pastoral Drama in the Renaissance: Poliziano’s Orfeo and Tasso’s Aminta with Facing English Verse Translations. Dublin: UCD Foundation for Italian Studies, 2013. 200 pp. €10. ISBN: 978-0-9529261-6-0." Renaissance Quarterly 67, no. 1 (2014): 327–28. http://dx.doi.org/10.1086/676247.

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Starowicz, Aleksandra. ""Z ziemi włoskiej do Polski". Staropolskie przekłady dramaturgii włoskiej." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 235–40. http://dx.doi.org/10.24917/20811853.17.20.

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From Italy to Poland. Old Polish translations of Italian dramaAbstractThe text discusses the most important problems raised in Jadwiga Miszalska’s book The Songof the Tragic Playthings Teaches us Virtue: Translations from Italian as a Source for PolishSerious Drama till the end of the 18th Century (Kraków, 2013). The author drew attention tothe place that the translation from Italian takes in the Polish culture and literature and notedthe fact, that choice of texts for translation, the way of reading, the changes to which thetranslators of the Italian dramaturgy decided have become a source of knowledge about thehistory of literature, literary trends and reading (and scenic) expectations of the time.Keywords: literary translation, Italian drama, Polish translations
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Translators, Multiple. "Translations." ti< 9, no. 1 (March 26, 2020): 37–45. http://dx.doi.org/10.26522/ti.v9i1.2451.

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Zheng, Sisi, and Adam Cziboly. "What can the translation of key terms reveal about understandings of drama education in China?" Applied Theatre Research 10, no. 2 (December 1, 2022): 119–40. http://dx.doi.org/10.1386/atr_00066_1.

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Based on the authors’ previous academic exchange and observations, translation of terms related to drama and theatre from English to Chinese and vice versa is likely to cause misunderstandings. This research investigated what the translation of key terms may reveal about the understandings of drama education in China. Through a desk research, we collected key terms primarily related to drama and theatre from 26 seminal English and Norwegian books in the field of drama education and their Chinese translations, sorting out and comparing the English/Norwegian originals and the Chinese translations of each term. Findings confirmed that the same Chinese expressions had been used for completely different drama-related terms, while applied theatre-related terms may be misleading as the translation may refer to theatre architectures. Elaborating on the understanding of drama and theatre in China and the new drama praxis, the Drama Etudes, this study discusses what the term ‘drama education’ may refer to in the Chinese context. The overall aim of this study is to contribute to an extended understanding of drama education and its relevant praxis in a global context.
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Dissertations / Theses on the topic "Italian drama – Translations into English"

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Gargiulo, Jennifer. "Vivere sul serio: Eduardo De Filippo and the Art of Life." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/2169.

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This thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
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Gargiulo, Jennifer. "Vivere sul serio Eduardo De Filippo and the art of life /." University of Sydney, 2006. http://hdl.handle.net/2123/2169.

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Doctor of Philosophy
This thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
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Slagle, Judith Bailey. "Gothic Interactions: Italian Gothic Translations of Margaret Holford Hodson." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3222.

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Reid, Joshua. "Lyric Augmentation and Fragmentation of the Italian Romance Epic in English Translations." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2861.

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The translation and transmission of the Italian romance epics of Boiardo, Ariosto, and Tasso across linguistic and cultural boundaries also included genre reprocessing. This paper traces how Elizabethan translators and compilers of these texts tended to read epic lyrically, or to read the lyric into (and out of) the epic. For Elizabethan translators of the Italian Romance Epic—Sir John Harington, Edward Fairfax, and Robert Tofte, for example—this transmutation meant amplification or insertion of lyrical material, such as Fairfax’s enhancement of the Petrarchan subtext of the Armida Blazon in Book 4 of Gerusalemme Liberata and Robert Tofte’s injection of his own Petrarchan mistress Alba into Boiardo’s Orlando Innamorato. Another trend, demonstrated by Robert Allott’s English verse anthology Englands Parnassus (1600), involved extracting lyrical fragments from the romance epic that function as stand-alone poems.
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Sorby, Stella Lanxing. "Translating Western musicals into Chinese: texts, networks, consumers." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/113.

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When translating musicals from one culture to another, a translator’s role is to convert the text for its stage representation in a different context. However, during the process from this translated text to it finally being performed on stage, changes are inevitable. Issues surrounding the nature of such changes, the reasons for which they are made, and their resulting effects, have hitherto been little researched. The present study seeks to explore such issues through an examination of the ways in which the development of the translated text is shaped by interactions between the various stakeholders including professional translators, fans and production team members, i.e. the director and actors, as well as the audience themselves. Employing some of the major concepts of Actor Network Theory as the principal theoretical framework, together with a case study approach combining textual analysis and empirical studies, this project focuses on Putonghua translations of Western musicals on the Chinese mainland. More specifically, through investigating three of the most recent and professionally translated and performed Western musicals: I love you, you’re perfect, now change (USA), Spin (Finland), and Mamma Mia! (UK), it intends to show how differing stakeholder perspectives on issues of performability and reception are negotiated to produce a commercially successful translation product.
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Redmond, Michael John. "The Scence lyes in Italy : representations of Italian culture in early modern English drama." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321486.

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Khameneh, Pour Roxana. "Active Translation into English and Italian of Hosseini's adaptation of the Persian epic,"Shahname"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9226/.

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This thesis proposes a translation from Persian into Italian and English of an ancient Persian epic called Shahname, or literally “The Book of Kings,” by Ferdosi, first published in the 11th century CE. The translation proposed, however, is not based on the original book by Ferdosi, which is written all in verse, but rather, an edited, shorter, and simplified version written in prose, by Mohamad Hosseini, first published in 2013. Nonetheless, in his version, Hosseini included some of the verses from the original poems in order to show the value and the beauty of Ferdosi’s writing. Many translations of Ferdosi’s book have been made into English, but only one translation has been made into Italian, by one Italo Pizzi, in 8 volumes, all in verse, in 1886. This thesis analyses and discusses the choices made for the two translations presented into English and Italian. My project is not only to propose translations of Hosseini’s version, but to also introduce the reader to the Persian culture, and to the life of the most famous Iranian epic writer, Ferdosi, and his masterpiece, Shahname.
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Mastropierro, Lorenzo. "Corpus stylistics and translation studies : a corpus-assisted study of Joseph Conrad's 'Heart of Darkness' and its Italian translations." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33678/.

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This thesis carries out a corpus stylistic study of Joseph Conrad’s Heart of Darkness and four of its Italian translations. It investigates the role of textual patterns as building blocks of the fictional world and triggers of literary themes. It also investigates the effects of translation on the relation between textual patterns and the fictional world, and discusses the potential consequences of translational alterations on the text’s themes. Heart of Darkness is a complex and multifaceted text that deals with a multitude of themes and has been interpreted in many different ways. By offering an overview of the text’s literary reception, I foreground two major themes that emerge from the contemporary critical debate as particularly central to the discussion about Conrad and his text: “Africa and its representation” and “race and racism”. Through a keyword analysis, I establish a connection between these themes and the lexical level of the text. Adopting Mahlberg & McIntyre’s (2011) model, I group keywords into categories that reflect specific aspects of the fictional world and the thematic concerns of the text. I then select groups of keywords that relate specifically to “Africa and its representation” and “race and racism” for more in-depth examination. Specifically, I analyse how the African jungle and the African natives are linguistically represented in the text. I demonstrate that repeated lexico-semantic patterns shape these fictional representations and play a fundamental part in the interpretation of the two themes related to them. I then focus on the Italian versions and compare them in order to show the effects of translation on the lexico-semantic patterns. I show that alterations made at the linguistic level affect the interpretational level of the translations, with potential consequences for the reception of the major themes in the target context. Finally, I use computational methods to compare the original and the translations at the level of whole texts, as opposed to feature-specific comparisons. I claim that together these two perspectives provide a more nuanced understanding of the relation between source and target texts. Through this analysis, the present thesis explores how the fictional world and literary themes are constructed and conveyed in literature and in its translation. It also contributes to the critical discussion on Heart of Darkness and proposes a methodology to analyse and compare literary translations. Finally, as an interdisciplinary project, this thesis builds on the interaction between corpus stylistics and translation studies, and strengthens this relation further.
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Totò, Giulia. "Italian translations of English stream of consciousness : a study of selected novels by James Joyce and Virginia Woolf." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/16180.

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The appearance of the stream of consciousness novel in the early Twentieth century marked a revolutionary moment in the history of English-language literature. Authors such as Joyce, Woolf and Faulkner aimed at simulating through language the inner workings of the human mind which were explored by contemporary psychology and philosophy. Their experiments with linguistic and narrative possibilities make their work a stimulating subject of study, both in the original and in translation. Although stream of consciousness novels by different English-speaking authors have been examined together linguistically before (e.g. Humphrey 1954, Dahl 1970, Cohn 1978), no translation study of this kind has yet been attempted. In this thesis I examine how the main traits of the stream of consciousness genre, such as the apparent lack of narratorial control, privacy and spontaneity of the fictional discourse, are recreated in Italian. The core of this thesis is formed by a set of systematic comparative analyses of linguistic parameters which contribute to conveying these traits: punctuation, exclamatory utterances, interjections and lexical repetition. For the purpose of my investigation, I built a corpus of six English stream of consciousness passages with their nineteen Italian translations and re-translations. The source texts are drawn from Joyce’s A Portrait of the Artist as a Young Man (1916) and Ulysses (1922), and Woolf’s Mrs Dalloway (1925) and To the Lighthouse (1927); the target texts from their complete translations published from 1933 to 1995. The analysis starts from the investigation of local translational choices and proceeds to identify patterns of behaviour. This qualitative method is complemented by a quantitative examination of the frequency of particular translation solutions both within and across target texts. The series of (re)translations are also compared diachronically and related to the retranslation hypothesis, according to which later translations tend to be closer to the source text. My research also puts the stream of consciousness phenomenon into the Italian socio-cultural context by examining how it was received in Italy across the Twentieth century.
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Della, Corte Giuseppe. "Text and Speech Alignment Methods for Speech Translation Corpora Creation : Augmenting English LibriVox Recordings with Italian Textual Translations." Thesis, Uppsala universitet, Institutionen för lingvistik och filologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413064.

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The recent uprise of end-to-end speech translation models requires a new generation of parallel corpora, composed of a large amount of source language speech utterances aligned with their target language textual translations. We hereby show a pipeline and a set of methods to collect hundreds of hours of English audio-book recordings and align them with their Italian textual translations, using exclusively public domain resources gathered semi-automatically from the web. The pipeline consists in three main areas: text collection, bilingual text alignment, and forced alignment. For the text collection task, we show how to automatically find e-book titles in a target language by using machine translation, web information retrieval, and named entity recognition and translation techniques. For the bilingual text alignment task, we investigated three methods: the Gale–Church algorithm in conjunction with a small-size hand-crafted bilingual dictionary, the Gale–Church algorithm in conjunction with a bigger bilingual dictionary automatically inferred through statistical machine translation, and bilingual text alignment by computing the vector similarity of multilingual embeddings of concatenation of consecutive sentences. Our findings seem to indicate that the consecutive-sentence-embeddings similarity computation approach manages to improve the alignment of difficult sentences by indirectly performing sentence re-segmentation. For the forced alignment task, we give a theoretical overview of the preferred method depending on the properties of the text to be aligned with the audio, suggesting and using a TTS-DTW (text-to-speech and dynamic time warping) based approach in our pipeline. The result of our experiments is a publicly available multi-modal corpus composed of about 130 hours of English speech aligned with its Italian textual translation and split in 60561 triplets of English audio, English transcript, and Italian textual translation. We also post-processed the corpus so as to extract 40-MFCCs features from the audio segments and released them as a data-set.
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Books on the topic "Italian drama – Translations into English"

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Jane, House, and Attisani Antonio 1948-, eds. Twentieth-century Italian drama: An anthology : the first fifty years. New York: Columbia University Press, 1995.

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1916-, Bentley Eric, ed. The Servant of two masters: And other Italian classics. New York, N.Y: Applause Theatre Books, 1992.

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1410-1484, Belcari Feo, and Castellani Castellano 1461-1519?, eds. Three Florentine sacre rappresentazioni: Texts and translations. Tempe, Ariz: ACMRS (Arizona Center for Medieval and Renaissance Studies), 2011.

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Street, Jack D. Italian theater of the late twentieth and early twenty-first centuries: A translation from Italian into English of nine crucial plays. Lewiston, [N.Y.]: Edwin Mellen Press, 2011.

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Partenia, a pastoral play: A bilingual edition. Toronto: Iter Inc., 2013.

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Natalia, Ginzburg. I married you for happiness. Lewiston, New York, USA: Edwin Mellen Press, 2015.

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translator, Carnicelli D. D., ed. Ferdinando. Lewiston, New York: The Edwin Mellen Press, 2015.

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Buzzati, Dino. Home alone, The windows, The prompters: three plays by Dino Buzzati ; Wild boars at the forest's edge by Giuliano Scabia: From magical realism to the fantastical, a translation from Italian into English. Lewiston: The Edwin Mellen Press, 2015.

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Luigi, Pirandello. Pirandello's theatre of living masks: New translations of six major plays. Toronto: University of Toronto Press, 2011.

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Luigi, Pirandello. Man, beast and virtue. Bath, England: Absolute Classics, 1989.

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Book chapters on the topic "Italian drama – Translations into English"

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de Panizza Lorch, Maristella. "Honest Iago and the Lusty Moor: the Humanistic Drama of Honestas/Voluptas in a Shakespearean Context." In Theatre of the English and Italian Renaissance, 204–20. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_10.

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Musacchio, Maria Teresa. "Chapter 5. The Influence of English on Italian: The Case of Translations of Economics Articles." In In and Out of English, edited by Gunilla Anderman and Margaret Rogers, 71–96. Bristol, Blue Ridge Summit: Multilingual Matters, 2005. http://dx.doi.org/10.21832/9781853597893-008.

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Marco Borillo, Josep. "An Analysis of the Use of Vernacular in Sebastian Barry’s Days Without End and Its Spanish and Italian Translations." In The Dialects of British English in Fictional Texts, 47–66. New York : Routledge 2021. | Series: Routledge research in language and communication: Routledge, 2021. http://dx.doi.org/10.4324/9781003017431-5.

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Sorá, Gustavo, and Alejandro Dujovne. "Translating Western Social and Human Sciences in Argentina: A Comparative Study of Translations from French, English, German, Italian and Portuguese." In The Social and Human Sciences in Global Power Relations, 267–93. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73299-2_10.

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Peligra, Cristina. "The East Indies and the Literature of Repatriation: A Comparative Analysis of Paratexts in the Italian and English Translations of Hella Haasse’s The Tea Lords." In Moving Texts, Migrating People and Minority Languages, 55–67. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3800-6_5.

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Ó Siadhail, Pádraig. "Gearóid Ó Lochlainn: The Gate Theatre’s Other Irish-Speaking Founder." In Cultural Convergence, 47–73. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_3.

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Abstract The association of the Gate Theatre with the Irish language has been always conceived via Micheál mac Liammóir; however, another of its founders, Gearóid Ó Lochlainn, was also Irish-speaking. Ó Lochlainn was a versatile actor in Irish and English, wrote a series of plays in Irish and translated into Irish works by Shakespeare, Ibsen and others. This chapter seeks to fill a gap in the story of the Gate by providing a brief biographical sketch of Ó Lochlainn, including his time in Denmark, a discussion of his role in efforts to establish Irish-language theatre in Dublin (specifically, An Comhar Drámuíochta, which was hosted by the Gate Theatre in 1930-1934), a summary of his involvement with the Gate, a critique of his original plays and his translations which, in introducing Dublin’s Irish-language theatregoers to world drama, complemented the mission of the Gate, and an assessment of Ó Lochlainn’s achievement.
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"Alphabetical List of Italian Mottoes (With Translations)." In The English Emblem Tradition, edited by Alan R. Young. Toronto: University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781442681170-023.

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"Alphabetical List of Italian Mottoes (With Translations)." In The English Emblem Tradition. Toronto: University of Toronto Press, 1998. http://dx.doi.org/10.3138/9781442681194-022.

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"Early English translations of Italian opera (1711-1750)." In Cultural Transfer through Translation, 183–207. Brill | Rodopi, 2010. http://dx.doi.org/10.1163/9789042029514_011.

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"List of Illustrations." In Cleopatra in Italian and English Renaissance Drama, 10. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048537235-001.

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Conference papers on the topic "Italian drama – Translations into English"

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Podgornii, I. A. "LITERARY INTERTEXTS IN A.S. GRIBOYEDOV’S COMEDY «GORE OT UMA» AND ITS ENGLISH, GERMAN AND ITALIAN TRANSLATIONS." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-127.

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Mihaila, Ramona. "TRANSCULTURAL CONTEXTS: NETWORKS OF LITERARY TRANSLATIONS." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-167.

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While in the Western societies the act of translating was a phenomenon that had a powerful tradition which started long before the sixteenth century, in the Romanian Principalities the first timid attempts were recorded at the beginning of the nineteenth century. Taking into account the translations accomplished by the nineteenth Romanian women writers and the large range of languages (French, Italian, Greek, Latin, German, English, Spanish) they used, I have tried to “discover” and “revive” as many women writers as I could, first of all by focusing all my attention on the works of the neglected women (writers) translators. The present research, which limits only to Romanian women writers that translated writings of foreign women authors, needs also a special attention to finding biographical data about the translators since a lot of them used pen names (few writers used even more than three pen names) or signed their writing or translations only with the initial letters of their names, especially for the works published in installments. There is a significant amount of research in order to bring to light all the translated works since most of them can be found only in (incomplete) issues of journals, almanacs, literary magazines, theatre’s journals, or manuscripts. By using the international database Women Writers in History we may involve researchers and students from many European countries in contributing with important information concerning their women writers. There are also negotiations with national libraries in 25 countries around Europe in order to get partners for this database which offers open access.
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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.

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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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Noever, David, Josh Kalin, Matthew Ciolino, Dom Hambrick, and Gerry Dozier. "Local Translation Services for Neglected Languages." In 8th International Conference on Artificial Intelligence and Applications (AIAP 2021). AIRCC Publishing Corporation, 2021. http://dx.doi.org/10.5121/csit.2021.110110.

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Taking advantage of computationally lightweight, but high-quality translators prompt consideration of new applications that address neglected languages. For projects with protected or personal data, translators for less popular or low-resource languages require specific compliance checks before posting to a public translation API. In these cases, locally run translators can render reasonable, cost-effective solutions if done with an army of offline, smallscale pair translators. Like handling a specialist’s dialect, this research illustrates translating two historically interesting, but obfuscated languages: 1) hacker-speak (“l33t”) and 2) reverse (or “mirror”) writing as practiced by Leonardo da Vinci. The work generalizes a deep learning architecture to translatable variants of hacker-speak with lite, medium, and hard vocabularies. The original contribution highlights a fluent translator of hacker-speak in under 50 megabytes and demonstrates a companion text generator for augmenting future datasets with greater than a million bilingual sentence pairs. A primary motivation stems from the need to understand and archive the evolution of the international computer community, one that continuously enhances their talent for speaking openly but in hidden contexts. This training of bilingual sentences supports deep learning models using a long short-term memory, recurrent neural network (LSTM-RNN). It extends previous work demonstrating an English-to-foreign translation service built from as little as 10,000 bilingual sentence pairs. This work further solves the equivalent translation problem in twenty-six additional (non-obfuscated) languages and rank orders those models and their proficiency quantitatively with Italian as the most successful and Mandarin Chinese as the most challenging. For neglected languages, the method prototypes novel services for smaller niche translations such as Kabyle (Algerian dialect) which covers between 5-7 million speakers but one which for most enterprise translators, has not yet reached development. One anticipates the extension of this approach to other important dialects, such as translating technical (medical or legal) jargon and processing health records or handling many of the dialects collected from specialized domains (mixed languages like “Spanglish”, acronym-laden Twitter feeds, or urban slang).
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