La Resistenza dell’Antico
The Resistance of the Ancient
a cura di Maria Arpaia
|La Resistenza dell’Antico The Resistance of the Ancient
a cura di Maria Arpaia
Maria Arpaia, L’Antico parla oggi: sopravvivenze, traduzioni e riadattamenti della poesia classica e medievale
Massimo Fusillo, Premessa
The recent intense debate on translation as cultural mediation and appropriation can put a new light on Pasolini’s rich activity as translator, which aimed at exploiting exchange and contamination. His versions of more or less canonical classics must be considered creative and aesthetic acts.
Some observations about Pier Paolo Pasolini as translator from Greek (Aeschylus) and Latin (Vergil): his technique, his style, his peculiar way to modify the classical source text in a permanent conflict between didascalic and subjectivistic intentions.
The paper explains the raisons and the objectives of the round table and analyses two translations of Pasolini from the Carmina Burana that had never been examined before.
Pier Paolo Pasolini, with his partial translation (1959) of the first book of the Aeneid (1-301), makes a non-epic poem of an epic text. In fact, we can find some similarities between the style used in the translation and that of some of his contemporary – or chronologically near – poem collections such as Le ceneri di Gramsci (1957) or La religione del mio tempo (1961). Pasolini’s translation, characterised by a very clear language, clashes with the academic translations of his time, but also with a particular epic style still used for translating epic
Presentation of the round table about Sanguineti’s translations from classic authors and about the book edited by Roberto Andreotti La resistenza del classico, which gathers many relevant contributes about the afterlife of Greek and Latin Literature.
Dialoghi sull’Almanacco BUR
Andreotti calls for the role of School and University education, Publishing Houses, and the Media, in promoting a much needed divulgation of the Classics (ancient texts and artworks) in order to enhance both their ‘alterity’ as a cognitive act and their age-long success in different cultural ‘frames’, where their revival and ‘re-readings’ come into play with current issues. Moreover, Andreotti exposes a recent advertising campaign in favour of the archaeological attractions of Rome, disclosing/highlighting the vagueness and ambiguity of the divulgating project of the ‘Sovrintendenza’. Public Institutions should protect not only the material asset of our Classic heritage but also the correctness of the ‘vulgarization’ of its symbolic values.
Le mille lingue della poesia medievale
Francesco Stella, Premessa
Marcello Meli, Annotazioni sulle traduzioni letterarie dal norreno
This article focused on the importance of the translation practice, versus any theory of it. Translation is techne, not episteme. Knowing the mother language and the destination language is essential for writing a text pleasant for its reader. The translator is a writer himself: literary translation needs to take into consideration – above all – the audience of its readers. Translating poetry in ancient norreno opens the possibility of divulgation in the modern age of the ancient German culture.
(Marcello Meli, Università di Padova, email@example.com)
Gianfranco Agosti, Voci della lirica bizantina
In Italy Byzantine poetry is still little known to the general public, despite the presence of ogg anthologies with translation. This paper tries to give a sample of the interest of such poetry, dealing with the genre of ‘lyric’ poetry. The categories of modern lyric poetry do not fit Byzantine texts, for which it is often more appropriate to speak of persona loquens rather than poetic ‘I’; nor there was in Byzantium a poetic production comparable to the Latin medieval lyric poetry. Nevertheless one can find in some periods of the Byzantine millennium the emergence of lyricism experimented in literary genres as ‘personal’ or ‘mourning’ poetry; especially in the poems of the tenth and eleventh centuries we find examples of what we can define ‘lyric’ poetry from a modern point of view. In the appendix I briefly examine the main Italian translations of Byzantine poets available on the editorial market.
(Gianfranco Agosti, Università di Udine, firstname.lastname@example.org)
Paolo Garbini, Scrittori latini dell’Europa medievale
Medieval Latin literature is a unique phenomenon in the history of Western culture for its duration, extent and importance. Based on three axes -classical, christian and Germanic- medieval Latin culture, it is the collective memory of Europe; therefore it allows to us to find a cultural European identity. For this reason translations of mediolatin texts into the various national languages are now necessary and commendable. This article introduces the Italian series Scrittori latini dell’Europa medievale edited by Francesco Stella for Pacini Editore, Ospedaletto (Pisa).
(Paolo Garbini, “Sapienza” Università di Roma, email@example.com)
Verso una nuova traduzione della Commedia
This paper explores Russell’s use of the sonnet as a sort of poetry gauge, a form whose structures are closer to inner discipline than to bare Literary tradition. Sonnets tend to the same subtle shape more closely than their division into different parts and rules may suggest at first. They all incarnate poetry and life at once, better than interpreting them, because poetry is not what you do but what you are, perpetually.
Il premio «Il poeta» al «Centro russo» di Pisa. Oleg Čuchoncev e Olesja Nikolaeva,
a cura di Cinzia Cadamagnani, Alessandra Carbone e Lorenzo Cioni
In May 2012 two Russian poets, Olesja Nikolaeva and Oleg Chukontsev, winners of the most important Russian Prize for poetry “Poet”, visited Pisa University. They were lead by Sergei Chuprinin, a well-known literary critic and writer, editor-in-chief of the Russian literary journal “Znamja” and president of the jury prize “Poet”. The two poets read some poems of theirs which are here presented in original language and Italian translation.
Ana Paula Tavares, a cura di Livia Apa
This paper is devoted to a contemporary author from Moscow, Andrey Rodionov (born 1971), one of the most popular Russian poets of his generation. We especially stress the importance of the city of Moscow itself (and the area of Moscow’s suburbs in particular) in Rodionov’s aesthetics. We also present the translation of three texts from Rodionov’s book “Suburban toys” (“Igrushki dlya okrain”, 2007).
Poesia di lingua francese
Poesia di lingua inglese