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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Merino, Raquel. "Drama translation strategies." Babel. Revue internationale de la traduction / International Journal of Translation 46, no. 4 (December 31, 2000): 357–65. http://dx.doi.org/10.1075/babel.46.4.05mer.
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This paper, which deals with drama translations in Spain (English-Spanish) from 1950, presents the results of a four-stage analysis carried out on a large corpus of translated plays. Starting from the assumption that theatre is part of the field of drama (which includes cinema and television, among other spectacles), and taking into account drama’ś inherent specificity (written to be performed), as well as its peculiar structure (dialogue versus prose) this study on translated drama posits, as a starting point, an inherently dramatic unit (réplica) which is instrumental in describing and comparing drama texts, be they translated or not. Starting from an outline of the four-stage process adopted, this paper elaborates fundamentally on extreme cases of translation strategies (addition, deletion and adequacy), found to have been applied in each of the three extreme cases studied, relating them with a previously uncovered twofold characterization (into reading and acting editions) of the translations under scrutiny.
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Vishnevskaya, Elena A. "Sequence Victimae Paschalis: an experience of comparing translations (English, Italian, Russian)." Vestnik of Kostroma State University 28, no. 2 (May 12, 2022): 168–74. http://dx.doi.org/10.34216/1998-0817-2022-28-2-168-174.
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The article is devoted to the analysis of translations of the medieval Latin sequence Victimae Paschalis into English, Italian and Russian. The texts selected on theological and popularization sites served as the material for the study. They were written during the 20th century and belong to different cultural traditions. The relevance of the study is due to the fact that in our time religious literature is considered as part of the global literary process. In particular, Christian medieval Latin hymnography is considered as part of the corpus of medieval poetic texts. The presence of modern translations into folk languages testifies to the interest in society in this genre. The tasks were to analyze translations and identify translation techniques and tactics, to explore the translation vocabulary, to consider the cultural component of the translations, to explore the texts in question from the point of view of the translators' worldview. The analysis showed that sequence translations reflect different worldview systems and goals, which determined different translation strategies in the given languages.
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Abdul Gani, Citra Amiliani. "The Quality of Direct Procedures in Students’ Indonesian Translation of English Folklore Drama Scripts." English Education Journal 9, no. 1 (November 8, 2018): 18–24. http://dx.doi.org/10.15294/eej.v9i1.26158.
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According to Vinay and Darbelnet (1995), direct translation refers to the transposition of source language message element by element into target language based on either structural parallelism or metalinguistic parallelism. However, both parallelisms are not realized by the student translators so that sometimes they apply inappropriate direct translation. Therefore, this study is aimed to assess the quality of students’ direct translation procedures according to Larson (1994) in Indonesian rendering of English folklore drama script. This study employed descriptive qualitative method with the involvement of respondents for quality assessment. The result reveals that 445 direct procedures consisting of 45 borrowing translations, 18 calque translations, and 382 literal translations produce 249 accurate, 64 sufficiently accurate, and 132 less accurate translations. Dealing with clarity, 314 are considered as clear, 71 sufficiently clear, and 60 less clear translations. In addition, the analysis of naturalness results 285 natural, 51 sufficiently natural, 58 less natural, and 51 unnatural translations. The problems derived from students’ direct procedures are the use of unacceptable loan word and word by word translation which can create misinterpretation. Therefore, the students should increase their awareness of the structural and metalinguistic parallelisms between source and target language.
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Variano, Angelo. "Spigolature di anglicismi: a proposito di leggings e altri (recenti) forestierismi." Zeitschrift für romanische Philologie 134, no. 2 (June 8, 2018): 568–79. http://dx.doi.org/10.1515/zrp-2018-0035.
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AbstractThe present article focuses on English-Italian language contact. In detail, we will show that supposedly recent borrowings such as leggings (GRADIT: 2004) or steward (1928) can already be observed in 19th-century Italian translations of English travel literature.
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Nobes, Christopher, and Christian Stadler. "Impaired translations: IFRS from English and annual reports into English." Accounting, Auditing & Accountability Journal 31, no. 7 (September 17, 2018): 1981–2005. http://dx.doi.org/10.1108/aaaj-06-2017-2978.
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Purpose The purpose of this paper is to examine translation in the context of International Financial Reporting Standards (IFRS) by taking the example of the English term “impairment” in IAS 36, and following it into 19 translations. The paper then examines the terms used for impairment in English translations of annual reports provided by firms. Consideration is given to the best approach for translating regulations and whether that is also suitable for the translation of annual reports. Design/methodology/approach The two empirical parts of the paper involve: first, identifying the terms for impairment used in 19 official translations of IAS 36, and second, examining English-language translations of reports provided by 393 listed firms from 11 major countries. Findings Nearly all the terms used for “impairment” in translations of IAS 36 do not convey the message of damage to assets. In annual reports translated into English, many terms are misleading in that they do not mention impairment, peaking at 39 per cent in German and Italian reports in one year. Research limitations/implications Researchers should note that the information related to impairment in international databases is likely to contain errors, and the authors recommend that data should be hand-collected and then carefully checked by experts. The authors make suggestions for further research. Practical implications Translators of regulations should aim to convey the messages of the source documents, but translators of annual reports should not look only at the reports but also consult the terminology in the original regulations. The authors also suggest implications for regulators and analysts. Originality/value The paper innovates by separately considering regulations and annual reports. The authors examine a key accounting term systematically into a wide range of official translations. The core section of the paper is a new field of research: an empirical study of the translations of firms’ financial statements.
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Gillespie, Stuart. "Manuscript Translations of Italian Poetry, c.1650–1825: A Miscellany." Translation and Literature 28, no. 1 (March 2019): 44–67. http://dx.doi.org/10.3366/tal.2019.0369.
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This is a presentation of fourteen English verse translations which have never previously been printed, transcribed from a range of extant manuscripts. The translators are mainly little-known figures. Italian authors translated include Dante, Petrarch, Tasso, Guarini, Metastasio, and Manfredi. The selection is intended to suggest how further archival research might make more visible the extensive history of amateur translation of classic and contemporary Italian poetry in English, and how far from routine its products can be.
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Atiya, Alexandra. "Juan del Encina’s Nativity Eclogues: A New English Translation." ROMARD 58 (December 23, 2021): 39–72. http://dx.doi.org/10.32773/lkql1174.
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Juan del Encina has long been recognized as a crucial figure in Iberian drama, yet few of his works have been translated into English. Encina wrote plays, poetry, and music in the late fifteenth and early sixteenth centuries, and scholars have traditionally regarded Encina’s writing as a turning point in early Spanish drama, both because of the secular material included in his plays and because Encina supervised the publication of his own works. He is also credited with contributing to the professionalization of Spanish theater by depicting the court of his patrons, the Duke and Duchess of Alba, as a site of theatrical performance. Encina’s innovative dramas interweave courtly, religious, and pastoral drama with metafictional elements. Atiya presents translations of two plays included in Encina’s 1496 Cancionero, a printed compilation of poetic, dramatic, and musical works.
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Fuga, Beatrice. "Unnatural and degenerate: Cases of monstrous motherhood in Matteo Bandello’s Novelle (1554) and Geoffrey Fenton’s Tragicall Discourses (1567)." Short Fiction in Theory & Practice 12, no. 2 (October 1, 2022): 185–202. http://dx.doi.org/10.1386/fict_00061_1.
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The following article takes into consideration two cases of early modern female ‘monstrosity’ drawn from the Italian collection of Novelle published by Matteo Bandello in 1554. The events recount the stories of two mothers who, seized by ‘unnatural’ folly, kill in cold blood their own offspring. The article tackles the conflicting concepts of normality and malady, putting this ambiguous opposition in relation with the consequent translations of the Novelle in French and in English. The shifts that appear in the translations reveal a deep preoccupation with definitions of malady, be they physical or cultural. Through a close analysis of the original Italian text and its English rendition written by Geoffrey Fenton in 1567, this article sheds light on the troubled relationship of English translators with ‘Italianated’ thus ‘degenerate’ customs, and on their authorial and textual strategies to pre-empt the infectious potential of their Italian sources.
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Lobascio, Marco. "Interference in Translation and Simultaneous Interpreting from Italian into English. An Intermodal Analysis of English Genitives in the European Parliament Interpreting Corpus." Across Languages and Cultures 21, no. 2 (December 1, 2020): 265–81. http://dx.doi.org/10.1556/084.2020.00015.
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This article illustrates an intermodal study on simultaneous interpreting and translation from Italian into English based primarily on the European Parliament Interpreting Corpus (EPIC) and official translations from the European Parliament. In line with Gideon Toury’s posited law of interference, the hypothesis that drives the present study is that interpreters and translators working into English from Italian may underrepresent the ’s-genitive as a result of the syntactic asymmetry between English (which alternates between ’s and of) and Italian (which only has one type of prepositional phrase consisting of di + noun). The results of this study indicate that ’s-genitives occur with lower frequency in interpreted English than in non-mediated English, thus revealing a particular form of syntactic interference. The same tendency, however, is not found in translations from Italian into English. This difference is explained by recourse to Englund Dimitrova’s (2005) findings on translation expertise and to the literal translation hypothesis (Chesterman 2011) and by suggesting that simultaneous interpreting tends to adhere to the source-language syntax more closely than translation, thus displaying similarities with translation drafts. The results also point to the theoretical and methodological limitations of the théorie du sens developed by the Paris School of Interpreters and Translators.
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Locher, Miriam A. "Moments of relational work in English fan translations of Korean TV drama." Journal of Pragmatics 170 (December 2020): 139–55. http://dx.doi.org/10.1016/j.pragma.2020.08.002.
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Čermák, František, and Aleš Klégr. "Modality in Czech and English." International Journal of Corpus Linguistics 9, no. 1 (April 29, 2004): 83–95. http://dx.doi.org/10.1075/ijcl.9.1.05cer.
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The paper examines two kinds of modality exponents and their interlingual relationships, using an aligned parallel minicorpus of two contemporary Czech originals (drama and novel) and their English translations. It focuses on four most frequent Czech adverbial particles of possibility/approximation:snad, mozná, asi, nejspíe,and the Czech conditional mood marker by in the texts and their equivalents. It contrasts the findings with the equivalents in the latest and largest Czech-English dictionary. The results confirm that in either case the lexicographic description is insufficient both in the range of equivalents offered and their respective representativeness.
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Fan, Shouyi. "Translation of English Fiction and Drama in Modern China: Social Context, Literary Trends, and Impact." Meta 44, no. 1 (October 2, 2002): 154–77. http://dx.doi.org/10.7202/002717ar.
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Abstract This article, which is organized along a chronological-thematic framework, will briefly review the early days of translating American and British fiction and drama into Chinese, the social context in which these translations were done, the literary ideas which have affected the work of Chinese writers, and the social impact that translated works of literature and literary theory have had in various periods of literature. The bottom line is that the literary works introduced to China to date represent only the tip of the iceberg. We need more quality translations for Chinese readers and more qualified and experienced translators to complete the job.
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Marc’hadour, Germain. "More’s Utopia : Comparing Seven Recent Translations." Moreana 38 (Number 146), no. 2 (June 2001): 63–90. http://dx.doi.org/10.3366/more.2001.38.2.7.
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This review article begins by pointing out that. to More. the number seven does not always imply a specific figure. The seven translations—Two English, two Italian, two Spanish, one Portuguese—are fïrst described in their significant aspects. Then each in turn is examined for its rendering of crucial words or phrases: a test of fidelity to More’s message and the subtle connotations carried by his idiosyncratic Latin.
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ZUYENKO, M. "MYTHOPOEIC PARADIGM IN ENGLISH BAROQUE DRAMA (JOHN WEBSTER “THE WHITE DEVIL”)." Philological Studies, no. 33 (April 19, 2021): 56–58. http://dx.doi.org/10.33989/2524-2490.2020.33.228234.
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The article deals with the mythopoeic analysis of the play of revenge “The White Devil” by John Webster. The historical background of the play is also under examination. The tragedy “White Devil” (1612) is known in the translations by I. Aksenov, T. Potnitseva. The genre of tragedy in the XVII th century reflects the writers’ appeal to the biblical text and its transformation in motives, images, stylistic and generic systems, this tradition is particular important for the baroque writers, the constant feature of the English dramaturgy of the XVIIth century is appeal to the antique mythology and the national cultural heritage.
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Komporaly, Jozefina. "Translating Hungarian Drama for the British and the American Stage." Hungarian Cultural Studies 14 (July 16, 2021): 164–75. http://dx.doi.org/10.5195/ahea.2021.434.
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Reflecting on my experience of translating contemporary Hungarian theater into English, this paper examines the fluidity of dramatic texts in their original and in translation, and charts collaborations between playwrights, translators and theater-makers. Mindful of the responsibility when working from a “minor” to a “major” language, the paper signals the discrepancy between the indigenous and foreign ‘recognition circuit’ and observes that translations from lesser-known languages are predominantly marked by a supply-driven agenda. Through case studies from the work of Transylvanian-Hungarian playwright András Visky, the paper argues that considerations regarding such key tenets of live theater as “speakability” and “performability” have to be addressed in parallel with correspondences in meaning, rhythm and spirit. The paper also points out that register and the status of certain lexical choices differ in various languages. Nuancing the trajectory of Visky’s plays in English translation, this paper makes a case for translations created with and for their originals, in full knowledge of the source and receiving cultures, and with a view to their potential in performance. The paper posits the need for multiple options encoded in the translation journey, including hypothetical concepts for future mise-en-scène, and situates the translator as a key participant in the performance making process.
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Yu., Munkh-Amgalan. "Монгол хэлээр орчуулагдсан италийн уран зохиолын товч тойм." Mongolian Journal of Foreign Languages and Culture 25, no. 547 (February 10, 2023): 9–25. http://dx.doi.org/10.22353/mjflc.v25i547.1833.
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Mongols have a long and rich tradition of translating literary works from many different countries into Mongolian. Specifically, thousands of literary works from over 100 different countries written in dozens of different languages have been translated into Mongolian. Among these, a large number of Italian literary works have been translated into Mongolian from Russian, English, and Romanian. As for the literary genres of these works, they primarily consist of poetry, prose, and plays (including screenplays). Specifically: 1) Poetry: poems (58 works), songs (1), long poems (3); 2) Prose: folktales (33), authored tales (36), short stories (40), traditional jokes (3), novellas (5), framed stories (1), novels (5); 3) Plays (2), and screenplays (1). In addition, works of non-fiction, including stylized biographical sketches, reminiscences, as well as a political philosophical treatise, have been published. Literary works are generally divided into one of the following two different categories depending on whether they have a specific author or not: a) oral folklore; and b) written literature. The following tasks need to be undertaken to properly study Italian literary works which have been translated into Mongolian and published in Mongolia: A complete bibliography of Italian literary works translated into Mongolian must be compiled, All of the Italian originals must be located and correctly identified, The Russian, English, and Romanian intermediate translations must also be found and carefully consulted, If a work has been translated multiple times by a single translator, the multiple translations must be compared with each other and studied, If a work has been translated multiple times by different translators, the multiple translations must likewise be compared with each other and studied, The Italian originals of poems, songs, tales, and short stories which have been translated into Mongolian should be located and juxtaposed with their translations and published in book format for teaching and research purposes.
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Clare, Janet, Michele Marrapodi, and Giorgio Melchiori. "The Italian World of English Renaissance Drama: Cultural Exchange and Intertextuality." Modern Language Review 96, no. 1 (January 2001): 158. http://dx.doi.org/10.2307/3735736.
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Bonda, Moreno. "THE EARLIEST ITALIAN TRANSLATIONS OF JOHN MILTON ’S “PARADISE LOST”: FAILED ATTEMPTS AND DANTESQUE INFLUEN CES." Vertimo studijos 10, no. 10 (January 18, 2018): 76. http://dx.doi.org/10.15388/vertstud.2017.10.11286.
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This paper deals with the history of translation in the 18th and 19th centuries. It investigates the reasons behind six unsuccessful attempts to translate John Milton’s Paradise Lost (1667) into the Italian language. We hypothesise that the problem was the rendering of unusually marked lexical, thematic, stylistic and rhythmical analogies with Dante’s Comedy and, mainly, with its sources. Adopting Antonio Bellati’s Italian translation (1856) as an indicator, our study focuses on problematic aspects intrinsic to the English poem. Specifically, we suggest that the challenge was the transposition of Paradise Lost’s peculiar mixture of style and meter: the blank verse of a Christian epic poem. This uniqueness rendered it too similar to Dante’s Comedy. Likewise, the setting and the subject matter of the English poem were too adherent to that of both Dante and Virgil’s Aeneid (one of Dante’s main sources). Finally, it might have been difficult to translate Milton into Italian because the English poet openly imitates the Italian epic style, its rhythmical and lexical choices. We conclude that it might have been arduous to avoid even more marked Dantesque influences in an Italian translation. In other words, this study depicts an unusual traductive instance of “excess of equivalence” for lexical and culturally specific items.
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Rozman, Julija. "Literary Translation as an Instrument of Slovenian Cultural Diplomacy with Particular Regard to Translations in German." Acta Neophilologica 55, no. 1-2 (December 14, 2022): 323–39. http://dx.doi.org/10.4312/an.55.1-2.323-339.
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The article discusses translation policy in Slovenia as part of the country’s cultural diplomacy. Translations of Slovenian literature, especially into German and English, are among the goals of the country’s cultural policy, in part because of Slovenia’s upcoming role as Guest of Honour at the Frankfurt Book Fair in 2023. The article analyses the role of the financial support for and promotion of translations from Slovenian into foreign languages by the Slovenian Book Agency and the Trubar Foundation. The study of subsidies for translations into German, English, French, Italian, Croatian, and Hungarian shows that while the number of subsidies for translations into German and English is high, as expected, Croatian takes the leading role among the target languages studied. This underscores the importance of the still-vibrant social and political ties stemming from the historical context of Yugoslavia. In addition to the crucial role of subsidies in exporting literature from a peripheral language such as Slovenian, the translation process and the promotion of literature depend to a considerable extent on other market actors-as the interviews with three literary experts showed.
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Gordon, W. Terrence. "A Comparative Study of the French & Italian Translations of Anne Michaels’ Fugitive Pieces." TTR : traduction, terminologie, rédaction 15, no. 1 (July 29, 2003): 103–15. http://dx.doi.org/10.7202/006802ar.
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Abstract W. Terrence Gordon examines the notion of translation problems by comparing the French and Italian versions of Michaels’ work. He begins by examining the translation of geological terms which, although they cause no translation problems on a strictly scientific level, are a cause of divergence in the French and Italian versions because they express metaphorically a main theme of the novel: memory and the modifying effect that the past has on the present. Gordon also examines the strategy of each translator with regards to word play, and in particular homonyms, anagrams and palindromes, which are rendered anywhere from a strictly didactic translation to a translation based on various linguistic resources and creative expression. Gordon reminds us that we are invited to study the stylistique interne of English-French and English-Italian through the two translations.
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Fratti, Sara, Stephen C. Bowden, and Olimpia Pino. "Diagnostic memory assessment in Italian-born Australians." International Psychogeriatrics 23, no. 7 (March 22, 2011): 1133–43. http://dx.doi.org/10.1017/s1041610211000305.
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ABSTRACTBackground:In many English-speaking countries neuropsychological assessment of non-English speakers is often performed in English or through an interpreter. Relying on interpreters often involves unstandardized and ad hoc translations of tests which may limit valid assessment.Methods:In a sample of 75 Italian-born elderly Australians from the general community (48 women and 27 men, aged 56–90 years) we administered standardized and normed psychological tests in both English (WMS-III, WAIS-III, BNT, Schonell Graded Word Reading Test) and Italian (Milan Overall Dementia Assessment, MODA). We examined the hypothesis that long-term retrieval ability assessed in English is primarily influenced by cognitive abilities assessed in Italian and by English language competence.Results:Regression analysis showed that the strongest predictor of long-term retrieval in English was long-term retrieval in Italian (R2= 0.229, F(72) = 29.12, p<0.01). After inclusion of an estimate of general cognitive ability in Italian, English language competence failed to add significantly to variance explained in memory tested in English (p > 0.05).Conclusions:Results of the present study support the view that long-term retrieval memory is not significantly affected by second language proficiency after control of cognitive ability assessed in Italian. As a consequence, if an Italian-born elder Australian with English as a second language scores poorly on a diagnostic memory test, this result may be due to cognitive impairment rather than language issues. If, instead, we attribute poor performance to language competence, an increased risk of false negative diagnosis may arise.
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Turk, Thomas N. "Search and Rescue: An Annotated Checklist of Translations of Gray's Elegy." Translation and Literature 22, no. 1 (March 2013): 45–73. http://dx.doi.org/10.3366/tal.2013.0099.
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This is a checklist of the more than 260 known published translations of Gray's poem, without restriction as to language or period, with supplementary information on the trasnslators, where their work may be found, etc. Forty different languages are involved, with Latin (44 translations), French (39), and Italian (28) numerically leading the list. Known translations peak in the Romantic era and continue to the present day. It has been claimed that all English and American poets owe something to the Elegy, but it has also been a singular influence on other languages, especially Indian, Japanese, and the languages of Eastern Europe.
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Pisanski Peterlin, Agnes, and Tamara Mikolič Južnič. "Contrasting pronominal subjects." Languages in Contrast 18, no. 2 (November 28, 2017): 230–51. http://dx.doi.org/10.1075/lic.16007.pis.
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Abstract Pronominal subject use constitutes a potential challenge in translation because of cross-linguistic differences: while the subject must be expressed in non-null subject languages, this is not necessary in null subject languages. The aim of the paper is twofold: first, to show that the type of source language influences the frequency of personal pronouns in translation, and second, to establish whether translations into a null subject language differ from comparable target language originals in terms of pronominal subject use. The study is based on the analysis of a 625,000-word corpus comprising original and translated popular science texts in Slovene and the corresponding source texts in English and Italian. The results confirm that pronominal subjects are more frequent in translations from English, a non-null subject language; furthermore, they are more frequent in translations than in comparable originals. Untypical cohesive patterns are identified in translations and possible reasons for their presence are explored.
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Angelino, Luca, and Alessandra Ciliberti. "The Italian Translation of Exner’s FQ Tables." Rorschachiana 39, no. 1 (March 1, 2018): 50–75. http://dx.doi.org/10.1027/1192-5604/a000099.
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Abstract. The article takes into consideration the four Italian translations (2003, 2007, 2016, 2017) of the Rorschach Comprehensive System Form Quality Tables ( Exner, 2001 ), with reference to the original English version, highlighting the urgency to verify a number of possible errors that – if proven – would be necessary to rectify. In light of these considerations, we underline the need for an Italian critical edition, as a step toward a shared standard for a scientific instrument that must insure uniformity of results among Comprehensive System users.
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Yektatalab, Hourieh, and Amin Karimnia. "Translations of Shahnameh of Firdausi in the West." Khazar Journal of Humanities and Social Sciences 16, no. 3 (October 2013): 36–52. http://dx.doi.org/10.5782/2223-2621.2013.16.3.36.
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This paper is an attempt to offer an investigation on the influence of Firdausi, the 10th century poet, and his great work “The Shahnameh” on the West regarding the translations of this book; more than sixty translations are discussed here with the names of the translators. Sir William Jones was the first translator of the “Shahnameh” to English (1774).Afterwards, there were other more or less prominent translators to take on and furnish the job of translating the great work of Firdausi’s “Shahnameh”. Dick Davis (1992 & 2006) as well as other scholars whose names are brought in the paper made translations of the book, lately. Worthy of mention as translators to other European modern languages are: Jules Mohl (1831-1868) into French,Count Adolf Friedrich von Schack into German (1851) and I. Pizziinto Italian in 8 volumes. They are among world-renowned translations of Firdausi’s epic. Translations into other languages as Danish, Bulgarian, Romanian and Russian are also discussed.These translations made Firdausi known to the West ever more than before, not only among English-speaking countries but also in several other European nations.
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Porkhomovsky, Victor Ya, and Olga I. Romanova. "Names of God in Vulgate and the Italian translations of the Old Testament." RESEARCH RESULT Theoretical and Applied Linguistics 7, no. 3 (October 1, 2021): 40–55. http://dx.doi.org/10.18413/2313-8912-2021-7-3-0-4.
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The present publication expands the analysis of the Old Testament translations into different languages. This line of studies was initiated by the works of the late French scholar Philippe Cassuto and one of the authors of this publication. The purpose of the article is to look at the strategies applied in translating the Old Testament names of the Supreme Being into Latin (the Vulgate version) and modern Italian. This purpose is two-fold: by doing so, we also expand the data base of the Old Testament terms‘ renditions in different languages. The article provides the full nomenclature of the names of the Supreme God in the Old-Hebrew (Masoretic) text of the Old Testament, concentrates on their semantics and grammatical structure, and explains the contexts of their use. A canonical Russian-language translation is used as a reference base to illustrate the fate of the original names of the God in translation. The widely-accepted English-language translations of the Old Testament are included to provide a broader perspective on translation strategies applied to this particular aspect of the Old Testament texts. The analyzed Latin and six modern Italian-language translations demonstrate a considerable degree of uniformity in translating the names of God. The Latin and the Italian translations apply the philological strategy to translating the Holy Bible (as opposed to another option presented by the typology of the Bible translation – the ideological strategy). Notwithstanding the relative lexical uniformity of the translations, they demonstrate the differences between Catholic and Protestant versions. The analysis of the Italian translations of the Old Testament contributes to the typology of the Bible translation and ultimately makes an input to the general theory of translation.
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Porkhomovsky, Victor Ya, and Olga I. Romanova. "Names of God in Vulgate and the Italian translations of the Old Testament." RESEARCH RESULT Theoretical and Applied Linguistics 7, no. 3 (October 1, 2021): 40–55. http://dx.doi.org/10.18413/2313-8912-2021-7-3-0-4.
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The present publication expands the analysis of the Old Testament translations into different languages. This line of studies was initiated by the works of the late French scholar Philippe Cassuto and one of the authors of this publication. The purpose of the article is to look at the strategies applied in translating the Old Testament names of the Supreme Being into Latin (the Vulgate version) and modern Italian. This purpose is two-fold: by doing so, we also expand the data base of the Old Testament terms‘ renditions in different languages. The article provides the full nomenclature of the names of the Supreme God in the Old-Hebrew (Masoretic) text of the Old Testament, concentrates on their semantics and grammatical structure, and explains the contexts of their use. A canonical Russian-language translation is used as a reference base to illustrate the fate of the original names of the God in translation. The widely-accepted English-language translations of the Old Testament are included to provide a broader perspective on translation strategies applied to this particular aspect of the Old Testament texts. The analyzed Latin and six modern Italian-language translations demonstrate a considerable degree of uniformity in translating the names of God. The Latin and the Italian translations apply the philological strategy to translating the Holy Bible (as opposed to another option presented by the typology of the Bible translation – the ideological strategy). Notwithstanding the relative lexical uniformity of the translations, they demonstrate the differences between Catholic and Protestant versions. The analysis of the Italian translations of the Old Testament contributes to the typology of the Bible translation and ultimately makes an input to the general theory of translation.
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Sezzi, Annalisa. "Wasted world o sporco mondo: tradurre i testi divulgativi per ragazzi sull’ambiente." Italica Wratislaviensia 13, no. 1 (June 30, 2022): 165–92. http://dx.doi.org/10.15804/iw.2022.13.1.07.
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The paper focuses on the Italian translations of two English informational books for children: Wasted World (2009) and Kids Fight Climate Change (2020), which deal with environmental issues. Informational books texts result from a complex dissemination process aimed at making specialised knowledge comprehensible to young readers. To achieve this purpose, informational books rely on various discursive popularising strategies, such as an array of explanations, and various methods for eliciting readers’ engagement, such as questions and irony. Indeed, they are part of what has come to be known as “edutainment,” in which education and entertainment are intertwined to create a “hybrid genre” (Buckingham and Scanlon, 2005). As the texts examined in the paper engage with ecology and environmental issues, they have a dual purpose: to inform and to raise awareness (ecoliteracy). Despite the importance of popularising texts, the translation of such products is still an underexplored field of research. The comparative analysis of the two English texts and their respective Italian translations centres on how global warming and climate change are described in the source and target texts. It examines how the popularising strategies are translated, given their importance in knowledge dissemination for children. The findings indicate that Italian translations, though retaining the combination of education and entertainment, tend to be more precise and more complex than the source texts. This is in line with the intercultural differences identified between Low Context (LC) cultures and High Context (HC) cultures.
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Mastrofini, Roberta. "English Manner of Speaking Verbs and their Italian Translations: A Cross-linguistic Comparison." ATHENS JOURNAL OF PHILOLOGY 1, no. 2 (May 31, 2015): 83–98. http://dx.doi.org/10.30958/ajp.1-2-1.
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Steffen, Ann M., Dolores Gallagher-Thompson, Katherine M. Arenella, Alma Au, Sheung-Tak Cheng, María Crespo, Victoria Cristancho-Lacroix, et al. "Validating the Revised Scale for Caregiving Self-Efficacy: A Cross-National Review." Gerontologist 59, no. 4 (March 12, 2018): e325-e342. http://dx.doi.org/10.1093/geront/gny004.
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AbstractBackground and ObjectivesThis article reviews an instrument used in cross-national research with dementia family caregivers—the Revised Scale for Caregiving Self-Efficacy (RSCSE). Although the RSCSE has been translated into multiple languages, few studies have examined scale performance across samples. We examine congruence of psychometric, reliability, and validity data to inform research and practice.MethodsWe conducted citation searches using Scopus, Google Scholar, Web of Science, and PsycINFO. Identified dementia caregiving studies cited the original RSCSE article and described results of English and/or non-English translations of the scale.ResultsPeer-reviewed published studies (N = 58) of dementia family caregivers included data for Arabic, Chinese, English, French, Italian, and Spanish translations of the RSCSE; the majority (72%) reported use of non-English translations. Studies utilizing confirmatory factor analytic approaches reported findings consistent with the original development study. Internal consistency, convergent/discriminant validity, and criterion validity indices were congruent across diverse cross-national caregiving samples assessed with different translations. Data supported the RSCSE’s sensitivity to change following specific psychosocial caregiving interventions.DiscussionThe reliability and validity of different translations of the RSCSE support continued use with cross-national samples of dementia family caregivers. Limitations of the scale point to the need for further self-efficacy measurement development within caregiving domains. Consistent with Bandura’s discussion of social cognitive theory in cultural contexts, personal agency for caregiving challenges remains generalizable to cross-national populations. This review discusses the implications for cross-cultural research and practice.
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Winston, Jessica. "Seneca in Early Elizabethan England*." Renaissance Quarterly 59, no. 1 (2006): 29–58. http://dx.doi.org/10.1353/ren.2008.0232.
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AbstractIn the 1560s a group of men associated with the universities, and especially the early English law schools, the Inns of Court, translated nine of Seneca’s ten tragedies into English. Few studies address these texts and those that do concentrate on their contributions to the development of English drama. Why such works were important for those who composed them remains unclear. This essay examines the translations against the background of the social, political, and literary culture of the Inns in the 1560s. In this context, they look less like forms of dramatic invention than kinds of writing that facilitated the translators’ Latin learning, personal interactions, and political thinking and involvement.
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Ferraresi, Adriano, Silvia Bernardini, Maja Miličević Petrović, and Marie-Aude Lefer. "Simplified or not Simplified? The Different Guises of Mediated English at the European Parliament." Meta 63, no. 3 (June 6, 2019): 717–38. http://dx.doi.org/10.7202/1060170ar.
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In this article we describe a framework for the corpus-based comparative investigation of interpreting and translation, illustrating it through a study of simplification across different modes of language production and across different language pairs. We rely on EPTIC, a corpus featuring plenary speeches at the European Parliament in their interpreted and translated versions, aligned to each other and to their source texts in English<=>Italian and English<=>French. Aiming to shed light on lexical simplification in different mediation modes, we compare interpretations and translations to each other and to comparable original speeches and their edited written versions. Specifically, we compare lexical features (lexical density, type-token ratio, core vocabulary and list head coverage) in interpreting and translation into English from French and Italian, both in a monolingual comparable perspective and an intermodal perspective. Our results do not unconditionally support the simplification hypothesis: lexical simplification is observed in mediated English, but is found to be greater when the source language is French, and in interpretations rather than translations. We conclude that this feature is contingent on both the mediation mode and the source languages involved, and that the influence of the latter seems to be stronger than that of the former.
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Chesher, Terry. "Who Says? A review by Professional Translators of the Work of Students Translating Health Text from English into Italian." Meta 36, no. 2-3 (September 30, 2002): 352–66. http://dx.doi.org/10.7202/002228ar.
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Abstract A translation project is described involving translation students (non-professionals) and experienced practitioners (professionals) working on a text relating to diabetes, aimed at Italian-speakers in Australia. Professionals were interviewed as they checked the student version of the text, and a number of problems were identified which were considered to need correction or amendment. Practitioners describe their normal procedure when checking translations, and offer general impressions of the students' work. Examples are given of problem areas encountered both in the English SL text before and after pre-translation Plain English editing, and in the students' version of the Italian. A tentative Translation Accuracy schema is outlined.
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Tóth-Izsó, Zsuzsanna. "Fundamentals of a Psychosynthetic Literary Analysis Approach and Applying it to an Italian Poem Giovanni Papini: C’è un canto dentro di me." Journal of Critical Studies in Language and Literature 3, no. 5 (July 9, 2022): 17–28. http://dx.doi.org/10.46809/jcsll.v3i5.167.
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This is the third of three related articles. The first one (Tóth-Izsó & Lombard, 2022a) presents the two authors’ English translations of the Italian poem indicated in the title and compares them depending on the translators’ experiences before and during the translation. It is also shown how the resultant translations are determined both by the salient features of the source text and by the individual readings of the source text by the translators. The second one (Tóth-Izsó & Lombard, 2022b) presents deconstructionist literary analyses of these translations and thus demonstrates how the two authors interpreted their own translations – and also the Italian original – in the deconstructionist analysis frame. This third article describes the fundamentals of a proposed psychosynthetic literary analysis methodology with illustrative examples. The basic idea is that the proposed analysis (including the study of translations) should be based on continuously interacting and partly independent self-centers – so called subpersonalities – of the author or characters in the analyzed piece as the objects of analysis. In Assagioli’s psychosynthesis the Self is a distinguished permanent center, which is above and unaffected by the flow of the mind-stream. The analysis levels of (I) personal, (II) transpersonal and (III) global psychosynthesis were identified, and to each of these levels further specific guidelines are provided. This approach is proposed because a common feature of all other existing systems is that they cannot satisfactorily grasp and interpret such psychic phenomena as interacting parts within one psyche or the so-called “peak experiences.” The aim is to widen the scope of already available approaches. Having reviewed a significant, but still limited part of the Italian, British/American English, and Hungarian polite literature, it was found that in the case of a surprisingly large portion of these about a hundred studied pieces it was possible to analyze them successfully by the proposed approach. Finally, the author compares the results of her psychosynthetic and deconstructionist analyses. In conclusion, an outline is given about the possibilities and limitations of the proposed psychosynthetic literary criticism approach.
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Venturi, Paola. "The translator’s immobility." Target. International Journal of Translation Studies 21, no. 2 (December 15, 2009): 333–57. http://dx.doi.org/10.1075/target.21.2.06ven.
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Translations are facts of target cultures, but the perceived status of source texts has a bearing on how these are reflected or refracted in the target language. This proposition is particularly evident in the case of classics: when translators have to work on literary creations occupying a pivotal position in the source/target cultures, they adopt strategies of literalness and ennoblement which betray a quasi-religious awe—on the one hand, a desire to ruffle the surface of the revered original as little as possible; and on the other, a determination to reproduce the supposed ‘classical qualities’ of the classic even when they are not present in the source. In the following article, I examine how the ‘idea of classic’ influences translation theory and practice, substantiating my theoretical observations by looking at Italian translations of English classics. A marked—and historically determined—disparity between source and target readerships, and the translators’ reverence for their prestigious originals, conspire to produce Italian versions which are much more ‘wooden’ and ‘elegant’ than their English counterparts.
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Classen, Albrecht. "The Saga of the Volsungs, with The Saga of Ragnar Lothbrok. Trans., with intro., by Jackson Crawford. Indianapolis, IN, and Cambridge: Hackett Publishing, 2017, xxxiv, 147 pp., 1 map." Mediaevistik 31, no. 1 (January 1, 2018): 418. http://dx.doi.org/10.3726/med012018_418.
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Old Norse sagas are simply in today, probably because they contain so much valuable and intriguing information about the world of the Icelanders and Vikings, and because they reflect deeply on mythological concepts and historical events, strongly colored by heroic deeds. This means that publishers of textbooks continue to demonstrate their willingness to produce English translations, such as the present one of The Saga of the Volsungs, which Jackson Crawford accompanies with a translation of The Saga of Ragnar Lothbrok. Henry Halliday Sparling (1890), Margaret Schlauch (1930), Ronald G. Finch (1965), Jesse L. Byock (1990 and 1999), and Kaaren Grimstad (2000), among others, had already offered English translations of the former, but none of them are listed by Crawford in his introduction. Translations into German, French, Italian, or other languages are also not considered, although there is a long tradition of comparable work that has been done many decades ago until today.
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Vaseneva, Nadezhda Vladimirovna. "Reception of the B. Shaw’s play "Pygmalion" in Russian literature." SHS Web of Conferences 101 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202110101004.
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The article is devoted to the analysis of reception of B. Shaw's play «Pygmalion» in Russian literature. The article emphasizes that Russian literature had a huge impact on the formation and development of B. Shaw's aesthetic system and drama, as a result of which B. Shaw's drama acquired an epic character. The standard of «epic drama» is B. Shaw's play «Pygmalion». The extreme popularity, relevance and significance of B. Shaw's comedy «Pygmalion» for Russian literature are noted. The article examines translations of B. Shaw's play «Pygmalion» and individual-author's interpretations of Russian directors of English comedy as a form of reception of B. Shaw's play in Russian literature. It is said that the plot and images of B. Shaw's play «Pygmalion» received a new life in Russian literature. The author analyzes allusions and reminiscences with B. Shaw's comedy «Pygmalion» in Soviet prose and drama of the 20th – early 21st centuries. It is proved that B. Shaw's play «Pygmalion» is characterized by a rich reception in Russian literature.
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Alix-Nicolaï, Florian. "Exile Drama: The Translation of Ernst Toller's Pastor Hall (1939)." Translation and Literature 24, no. 2 (July 2015): 190–202. http://dx.doi.org/10.3366/tal.2015.0201.
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Ernst Toller's Pastor Hall, one of the first plays to depict life in a concentration camp, counts among the few anti-Nazi dramas translated into English before World War Two. The process by which it came to the British stage reveals the impact of censorship on authors and translators of anti-Fascist plays. It also reveals conflicting aesthetic strategies to tackle fascism. While Toller relied on straightforward documentary realism, one of his translators, W. H. Auden, championed anti-illusionism and distrusted propaganda art. In the cultural fight to reclaim Germany's heritage from the Nazis, German writers in exile viewed translations as urgent messages demanding prompt action, whereas British writers tended to see them as an archive for future generations.
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Mateo, Marta. "Successful strategies in drama translation: Yasmina Reza’s “Art”." Meta 51, no. 1 (May 29, 2006): 175–83. http://dx.doi.org/10.7202/013006ar.
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Abstract Yasmina Reza’s “Art” has been widely acclaimed ever since it opened in Paris in 1994: the different productions which have followed the French original in more than 40 countries have enjoyed equal success. This success, both among audiences and critics, may be attributed to the play’s universal themes, to the tone and richness of its dialogue and to the good acting most productions have displayed. But the fact that the play has been appreciated in so many different countries and languages inevitably implies that translation is also at the centre of its success. This paper analyses two translations of “Art” – Christopher Hampton’s English text and Josep M. Flotats’s version into Spanish –, which, despite having a similar aim, i.e., making the play function on stage, have followed different translation strategies to make it work in their different target contexts.
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Bernardini, Silvia, and Adriano Ferraresi. "Practice, Description and Theory Come Together – Normalization or Interference in Italian Technical Translation?" Meta 56, no. 2 (October 14, 2011): 226–46. http://dx.doi.org/10.7202/1006174ar.
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This article aims at the characterization of specific features of translated texts. Taking a classroom experience as its starting point, the use of anglicisms in original and translated computing texts in Italian is examined. The corpus used for this purpose has three components: originals in Italian, comparable translations into Italian, and their English source texts. The frequency of three sets of English words – overt lexical borrowings, adapted borrowings and semantic loans, and morphosyntactic calques (plurals ending in –s) – is compared across the monolingual comparable subcorpus components. The parallel subcorpus is then checked to disprove the null hypothesis according to which observed differences are unrelated to the translation process. The results of the quantitative analysis, followed by careful qualitative observations, confirms that translators are more conservative in their choices and normalize more than writers, who seem to be more prone to interference from English as the lingua franca of the IT discourse community. Implications at the methodological, descriptive/theoretical and applied levels are discussed.