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Dag Solstad, modernista norvegese: Traduzione di Det Plutselige Øyeblikk (Spiraler) e Vi vil Ikke gi Kaffekjelen Vinger (Svingstol)
Get PDFThe first part is dedicated to an overview of the literary production of Dag Solstad, one of the greatest living Norwegian writers and intellectuals. His works can be divided into five thematic groups, the first of which corresponds to the modernist phase of the 1960s. Subsequently, the attention shifts to this early period, showing how the two debut works, Spiraler (Spirals; 1965) and Svingstol (Swivel Chair; 1967), have different thematic and content features whereby the former can be read in opposition to the latter. The short stories of the first collection, Spiraler, are closely linked to the poetics of Symbolism. The characters seem to be immersed in a dream or, rather, in a nightmare. The recurring themes are the lack of contact, the loneliness of mankind, and the absurdity of life. In Svingstol, on the other hand, Solstad seems to reposition himself. The closed symbolic world of the first collection opens up, so that concrete reality can be accepted. Finally, this dialectic is made visible through the unpublished translations of two short stories contained in the respective collections. In "Det plutselige øyeblikk" (The sudden moment) the protagonist experiences the modern life of the big city, where people come and go frantically and from which he is excluded. From a stylistic point of view, it is important to note the presence of very long sentences that here serves to convey the protagonist’s feeling of loss in the turmoil of the big city and will later become a peculiarity of Solstad\u27s writing style. "Vi vil ikke gi kaffekjelen vinger" (We do not want to give the coffee pot wings) is placed at the opening of Svingstol and acts as a programmatic manifesto valid for the entire work. The text represents an awakening in the direction of everyday life, where existence is defined through the practical use of things, as can be guessed from the final description of the coffee pot.Una prima parte è dedicata a una panoramica sulla produzione letteraria di Dag Solstad, uno tra i maggiori scrittori e intellettuali norvegesi viventi. Le sue opere sono suddivisibili in cinque gruppi tematici differenti, il primo dei quali corrisponde alla fase modernista degli anni Sessanta. Successivamente l’attenzione si sposta proprio su questo periodo iniziale, mostrando come le due opere di debutto, Spiraler (Spirali; 1965) e Svingstol (Sedia girevole; 1967), dispongano di caratteristiche tematiche e contenutistiche diverse tra loro che fanno sì che l’una possa essere letta in contrapposizione all’altra. Le novelle della prima raccolta, Spiraler, sono strettamente legate alla poetica del Simbolismo. I personaggi sembrano essere immersi in un sogno, o in un incubo piuttosto. I motivi ricorrenti sono la mancanza di contatto, la solitudine dell’uomo, l’assurdità della vita. In Svingstol pare invece che Solstad operi un cambio di posizione. Il chiuso mondo simbolico della prima raccolta si apre, così che la realtà concreta possa essere accettata. Infine, tale dialettica è resa visibile tramite le traduzioni inedite di due novelle contenute nelle rispettive raccolte. In “Det plutselige øyeblikk” (L’attimo improvviso) il protagonista fa esperienza della vita moderna della grande città, in cui le persone vanno e vengono freneticamente e dalla quale lui resta escluso. Da un punto di vista stilistico, è importante notare la presenza di periodi molto lunghi, qui funzionali a trasmettere la sensazione di smarrimento del protagonista nel trambusto della grande città, ma che in seguito diverrà una peculiarità della scrittura di Solstad. “Vi vil ikke gi kaffekjelen vinger” (Non vogliamo dare ali alla caffettiera) è posto in apertura di Svingstol e funge da manifesto programmatico valido per l’intera opera. Il testo rappresenta un risveglio in direzione della vita quotidiana, dove l’esistenza viene definita tramite l’utilizzo concreto delle cose, come si intuisce dalla descrizione finale della caffettiera
Per un patto con Ezra Pound. Il Canto 81 fra traduzione interlinguistica e dialogo intermediale
Get PDFThe oft quoted and much discussed conclusion of Canto 81 in the Pisan Cantos – a landmark work of poetic Modernism – sealed an unlikely "pact" between Ezra Pound and Pier Paolo Pasolini during an interview for Italian television recorded in 1967. With this meaningful encounter as its starting point, my study retraces the complex paths followed by Pound’s text; frequently de-contextualized and simplified, it has undergone multiple procedures of interlingual and intersemiotic translation, acquiring a variety of new functions and meanings.La sezione più nota, citata e studiata del Canto 81 dei Pisan Cantos, opera chiave della poesia modernista, sembra suggellare un poco credibile "patto" tra Ezra Pound e Pier Paolo Pasolini nel corso di una intervista per la televisione registrata nel 1967. Partendo da quello storico incontro, il presente contributo segue gli articolati percorsi intrapresi dal testo di Pound, spesso decontestualizzato o semplificato e sottoposto ad una serie di processi di traduzione intralinguistica ed intersemiotica attraverso i quali ha assunto una pluralità di nuove funzioni e significati
Ambiguità metanarrative nelle traduzioni italiane di Prokleta Avlija di Ivo Andri´c
Get PDFIl saggio mette a confronto le tre traduzioni italiane del breve romanzo Prokleta avlija (1954) di Ivo Andrić, considerato l’opera più importante del tardo modernismo serbo. Le versioni di Jolanda Marchiori (1962), Franjo Trogrančić (1974) e Lionello Costantini (1992) sono analizzate prendendo in esame i passi metanarrativi e i commenti poetici del narratore autoriale per verificare in che misura i traduttori siano riusciti a renderne le stratificazioni semantiche. L’intreccio tra il senso letterale e quello figurato, a volte risolto in un’unica parola e uno dei pregi più significativi del romanzo di Andrić, è spesso difficile da discernere. La frequente ambiguità di queste espressioni mette alla prova il traduttore che, quando le nota, è spesso costretto a scegliere tra il significato letterale e quello traslato incrinando il valore allegorico che il testo di Andrić ottiene anche grazie alle ambiguità metanarrative
Che cosa significa scrivere chiaro: Enigma e potenzialità del linguaggio secondo Giuseppe Pontiggia
Get PDFGiuseppe Pontiggia identifies two good rules of \u27clear writing\u27: continuous comparison with the common language and attention to the etymology of words. The comparison of his positions with those of two excellent \u27illuminists\u27 such as Italo Calvino and Primo Levi on the same subject allows us to highlight similarities between the problems identified, but, above all, differences in terms of the solutions proposed. Pontiggia, in fact, more often shows distrust than optimism towards rationality, and prefers to look to mystical-religious traditions such as Taoism, to a heterodox surrealist writer like René Daumal or to the thought of Martin Heidegger.Giuseppe Pontiggia individua due buone regole dello \u27scrivere chiaro\u27: il continuo confronto con la lingua comune e l\u27attenzione all\u27etimologia delle parole. L’accostamento delle sue posizioni a quelle di due eccellenti \u27illuministi\u27 come Italo Calvino e Primo Levi sullo stesso tema ci permette di evidenziare somiglianze tra i problemi individuati, ma, soprattutto, differenze quanto alle soluzioni proposte. Pontiggia, infatti, mostra più spesso sfiducia che ottimismo nei confronti della razionalità, e preferisce guardare a tradizioni mistico-religiose come il taoismo, a uno scrittore surrealista eterodosso come René Daumal o al pensiero di Martin Heidegger
Wedekind, Il Risveglio di primavera: Alcuni spunti per una literarische Übersetzungskritik del dramma
Get PDFStarting from an overview of the discussions on translation for the theatre, and from the lively debateon whether or not it is appropriate to establish specific boundaries between the theory of translation ofdrama and the theory of translation of other artistic genres, the essay analyses the possibility ofaddressing the exploration on translations from the point of view of an "equivalence ofinterpretability", i.e. examining how much a text, rendered in a language other than the one in which itis written, can be interpreted - even by any scholars - in a similar way. A "hermeneutic" translation thatavoids normalization and simplification could in fact restore, in a panorama of World Literature,greater openness to reading and also to theatrical adaptation, reinstating to the text, even in thelanguage of translation, the necessary Vieldeutigkeit. Analysing in particular five translations of Frühlingserwachen by Frank Wedekind (Prampolini, Filippini, Pocar, Lunari, Bertocchini), starting from the critical-literary collocation of the text and its first reception in Italy, it illuminates the typically literary complexities (in particular intertextuality) and then proceeds to examples of passages in which the Faustian rewriting and the allusion and quotation of Nietzsche's philosophy are particularlyimportant from a hermeneutic point of view, to dwell on the versions that stay more "open" tointerpretation.Il saggio è incentrato sulla Literarische Übersetzungskritik, e si propone di ragionare su cosa si possa definire adeguato in una traduzione “ermeneuticamente adeguata”. La riflessione viene illustrata restringendo il campo alla traduzione per il teatro, e in particolare di un’opera di Wedekind considerata di primaria importanza: Risveglio di primavera, molte volte tradotta e rappresentata. Dopo una sezione in cui si dà conto delle principali linee teoriche riguardanti la traduzione per il teatro e del teatro (Bassnett, Fischer-Lichte, Glynn, Menin; Ubersfeld) si approfondisce la questione del rapporto tra traduzione ed ermeneutica in senso descrittivo e non prescrittivo, insistendo sulle possibili rese della Vieldeutigkeit polifonia e sul decentramento necessario (Meschonnic). Il saggio presenta anche una brevissima storia della ricezione iniziale di Wedekind in Italia, con le considerazioni stilistiche e analitiche di Mazzucchetti, Edschmid e Kerr, utile alla successiva disamina di alcuni significativi esempi di intertestualità nelle rese di Prampolini, Filippini, Pocar, Bertocchini e Lunari. Si vanno a tratteggiare questioni testuali e filologiche complesse: La restituzione del livello satirico rispetto alla critica ai Bildungsphilister, i richiami alle riflessioni nietzschiane sul suicidio e quelli al Faust. Una traduzione ermeneuticamente adeguata si profila come una traduzione che punta a restituire in modo il più possibile aperto all’interpretazione il testo di partenza, affinché possa (ri)collocarsi entro il sistema ermeneutico-letterario di arriv
«Dove sono io in quella corrente?» Strategie e forme dell\u27autorialità in M di Antonio Scurati
Get PDFThis paper offers a stylistic-narratological analysis of Antonio Scurati’s M. Il figlio del secolo (2018). Here, I will contend that there is no gap between the omniscient narrator who tells the rise of Mussolini and the real author of the text. The study will take into account the intrusive commentary made by the narrator, the presence of intertexts referring to other works written by Scurati and the formal architecture of the book, that foreshadows the transmedia extension of the narrative text. The intersection of these formal aspects triggers the reader’s emotive response, which leads to major effects in the reception of the text, especially in the light of the current political and historical context.Il contributo presenta uno studio di M. Il figlio del secolo (2018) di Antonio Scurti, nel quale si evidenzia come l\u27autore implicito alle spalle del narratore presenti evidenti analogie con l\u27autore reale del te-sto. L’analisi stilistico-narratologica si sofferma sui commenti intrusivi del narratore rivolti alla contemporaneità, sulla presenza di intertesti che rimandano a opere terze di Scurati e su un’architettura formale che anticipa sulla pagina scritta il prolungamento del libro in ottica transmediale. L’incrocio di questi aspetti formali mira a evocare la complicità emotiva del lettore, con effetti non trascurabili sul piano della ricezione del testo, anche alla luce del contesto storico e politico attual
Il presupposto trascendente del pensiero: La conoscenza immediata di Dio nella riflessione di Piero Martinetti
No full textThis article discusses the concept of ‘transcendence’ as developed by Piero Martinetti in his major metaphysical works, providing a distinction between gnoseological and ontological transcendence. It then reveals the epistemological status of ontological transcendence as a necessary presupposition of thought. Finally, it addresses the interpretation of the traditional arguments for the existence of God as means of expressing this presupposition, also giving evidence of the relevance John Caird’s work Introduction to the Philosophy of Religion had on Martinetti.The paper discusses the different meanings of the notion of ‘transcendence’ in Piero Martinetti\u27s main metaphysical works, focusing on the chief distinction between epistemological and ontological transcendence. In particular, the epistemological status of the ontological transcendence as a necessary prerequisite of thought is explored. Finally, the article analyzes Martinetti’s interpretation of the traditional proofs of the existence of God, assumed as expressions of this necessary prequisite - thus showing the influence that John Caird’s An Introduction to the Philosophy of Religion had on Martinetti
Sul miracolo come violazione delle leggi di natura: Da Hume al dibattito odierno
No full textSince Hume’s essay Of Miracles, the definition of the miracle as a “violation of the laws of nature” has been widespread in the modern philosophy of religion. Such as definition seems, prima facie, coherent with a theistic conception of miracles and, from a particular point of view, a product of the latter. Still, it was used by both Spinoza and Hume to deny the possibility and credibility of miracles. Therefore, in the contemporary discussion, most theists have abandoned it, despite its revival by some authors such as R. Swinburne. In this article, I consider some attempts to circumvent the definition of the miracle as a “violation of the laws of nature” (especially C. S. Lewis and R. Larmer’s attempts), claiming that they don’t fully succeed. In the wake of Thomas Aquinas, I argue that this definition of the miracle, though not to be considered exclusive, has the advantage of preserving a realistic notion of a miracle and its apologetic function in theism.Since Hume’s essay Of Miracles, the definition of the miracle as a ‘violation of the laws of nature’ has been widespread in the modern philosophy of religion. Such as definition seems, prima facie, coherent with a theistic conception of miracles and, from a particular point of view, a product of the latter. Still, it was used by both Spinoza and Hume to deny the possibility and credibility of miracles. Therefore, in the contemporary discussion, most theists have abandoned it, despite its revival by some authors such as Richard Swinburne. In this article, I consider some attempts to circumvent the definition of the miracle as a ‘violation of the laws of nature’ (especially Clive S. Lewis and Robert Larmer’s attempts), claiming that they don’t fully succeed. In the wake of Thomas Aquinas, I argue that this definition of the miracle, though not to be considered exclusive, has the advantage of preserving a realistic notion of a miracle and its apologetic function in theism
Embodiment and Private Languages: the Proper Task of an Articulate Architecture
No full textThis paper examines what is entailed for architects who seek to create a “homely” environment. That may have been architects’ aim in domestic design for many years, but more recently critics have referred to the work of perception psychologists and claimed that neuro-aesthetics could provide a scientific justification for those earlier intuitions, such as we find in the work and writings of the Arts and Crafts architect M. H. Baillie Scott. He maintained that people “see” certain kinds of space as cosy and that the task of the architect is to respond to that. I suggest a connection to the later work of Ludwig Wittgenstein, who noted that when we say “I see what you mean”, we agree to play a “language game” – in which the conventions are understood so they cannot be private. Architects have often described how buildings convey meanings with a linguistic analogy and, in exercising their art, style can also be understood as a kind of game, as the work of Baillie Scott’s more famous contemporary Edwin Lutyens illustrates. The game of style, however, as association and formal manipulation, is a reductive understanding of the process of design, which is more to do with “play” in a deeper psychological sense. What kind of game an architect chooses to play is at root, an ethical decision. Wittgenstein, himself the architect of two houses, had a scrupulous sense of what could be truthfully ‘said’, believing the deepest truths could only be ‘shown’. Eventually architects’ work shows where they stand
Elementi per una contestualizzazione della filosofia della religione di Juan Carlos Scannone: Una rassegna critica della letteratura specialistica
No full textJuan Carlos Scannone developed his theoretical proposal for a philosophy of religion between the second half of the 20th century and the first two decades of the 21st century, in a particular historical-geographical, intellectual and cultural context. In Latin America, the school of thought centered on historical-political conditions, the dynamics of liberation from oppression and injustice, the appreciation of popular wisdom and philosophical inculturation was born in 1970. Starting from a hermeneutical-phenomenological approach, Scannone elaborated a philosophy of religion, connected to his ideas on liberation, capable of revisiting religion, God and theological categories, in a lively dialogue between Western and Latin American thought. Taking the victims of oppression as a starting point for his reflection on God, the Argentine philosopher exposed the contemporary situation of philosophizing and of a particular type of rationality. The article explores some useful elements to determine Scannone’s philosophy of religion, presenting a critical comparison with the most recent specialist literature on the subject.The proposal advanced by Juan Carlos Scannone for a philosophy of religion develops in a precise historical-geographical, intellectual and cultural framework, between the second half of the 20th century and the first twenty years of the 21st century. Since 1970, Latin America has been implementing theoretical proposals centered on the historical-political conditions, on the dynamics of liberation from oppression and injustices, on the valorization of popular wisdom and on philosophical inculturation. Starting from a hermeneutic-phenomenological approach, Scannone elaborates a philosophy of religion that is connected to his proposal of liberation; he is able to rethink the religious fact, God, and the categories of theology in a lively dialogue between Western thought and Latin American thought. Based on a reflection on God that moves from the victims, the Argentine philosopher exposes the current situation of the philosoophical activity and of a particular kind of rationality. The article explores some useful aspects for the understanding of Scannone\u27s philosophy of religion; with this goal, it includes a critical review of the most recent specialist literature on the topic