Studia theodisca
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Cover and Introductory Pages
No full textStudia theodisca – Hölderliniana III (2018). Cover and Introductory Page
Kentauren-Übersetzen. Hölderlins Schema von Begriff und Bild
Full text linkIn the last of the Pindar-Fragments, a set of nine pieces translated by Friedrich Hölderlin around 1803-1805, the myth of the Centaurs as the symbol for violence and transgression is made to disintegrate and is replaced by an autonomous narrative depicting the birth of culture and civilization. In Hölderlin’s commentary, “the concept of the Centaurs” is said to correspond to the “spirit of a river”, upon which the text seeks to summon up the “image” underlying that same concept. This dynamics of concept and image leads one to fully reconsider the interplay between translation and interpretation
Cover for Vol 26
No full textFausto Cercignani [email protected] Università degli Studi di Milano, Italy
Abstract: Studia theodisca, Cover for Vol 26 (2019
Il compito del traduttore e le condizioni dell’afasico. Per un’interpretazione linguistica della pratica traduttiva di Hölderlin
Full text linkThe paper aims to question the traditional interpretative hypotheses concerning Hölderlin’s translation practice. To this end, I will argue that the majority of Hölderlin’s “mistakes” in translating are due neither to the application of poetological or philosophical criteria, nor to occasional translator’s oversights, nor to supposed schizophrenic disease suffered by the poet. I will offer instead an interpretation of Hölderlin’s translation deficits and his peculiar translation practice (i.e. the wide use of metaphors and metonymies) by referring to Sigmund Freud’s and Roman Jakobson’s theories on aphasia and its linguistic types. In the light of these analyses, I will also focus on the inner relation between translation practice and language deficits
«Gemeinsamschwesterliches! O Ismenes Haupt!». Note sull’esordio dell’«Antigone» di Hölderlin
Full text linkIn his translation of Antigone Hölderlin certainly used the ancient scholia, which he read at the margins of the edition he had available (the so called Brubachiana, Frankfurt 1544), or in another source (perhaps the commentary on the Theban plays of Sophocles by Joachim Camerarius, 1534). This paper analyzes the beginning of Hölderlin’s translation (vv. 1-11) in a close reading focused on its relationship with the Greek text and its tradition; special attention will be paid to the poetic significance of Hölderlin’s lexical choices. The aim is to demonstrate the inner poetic coherence of Hölderlin’s translation and, as a consequence, to hint at the consistency of his interpretation of Sophocles’ Antigone
Hölderlins «Antigonä»: Übersetzung als Kulturrevolution. Philologische Anmerkungen zum Verhältnis von Musik und Politik bei Hölderlin
Full text linkMusic (in the Attic sense of musiké) and politics are intimately connected in Hölderlin’s thinking. Musiké organises the rhythm of ideas («Rhythmus der Vorstellungen») in the tragedies of Sophocles by integrating the different competencies of humans. Nevertheless, Hölderlin’s translation of Sophocles aims not at a rewriting of musiké to compensate for the deficits of the French Revolution (cf. Herder, Schiller or Hegel). Rather, he acknowledges the fact that an open society consists in a permanent struggle for translation. Even this society is not to be abstracted from the concrete “musical”, i.e. metric and prosodic, features of translation. The paper focuses on Hölderlin’s use of polymetric features in anticipation of a society that will no longer be “narratable”
«Im Kunstwerk lerne das Leben». Tradurre Hölderlin al tempo dell’ermetismo
Full text linkA comparative analysis of the translations into Italian of Hölderlin’s Andenken realized in the 1930s and 1940s by Vincenzo Errante, Gianfranco Contini, Diego Valeri and Leone Traverso shows how the translators recognized and adapted the poem’s poetic and formal innovations. The linguistic texture of the original, as well as peculiar philological and exegetical problems, forced the translators to reconceive their own definitions of poetry and style, and encouraged them to find new formal solutions which proved highly influential for contemporary Italian poets and intellectuals