1,354,391 research outputs found
"One of the dearest Authors of Ours". Virginia Woolf nell’Archivio Storico Mondadori: una lettura inedita
No full textBy way of an extensive examination of documents in the Arnoldo Mondadori Editore Archives, preserved by the Fondazione Mondadori in Milan, Virginia Woolf ’s eventful publishing career in Italy is retraced and her presence is reviewed from a privileged perspective: her Italian publisher’s letters and memos. These documents throw light on the editorial and political vicissitudes of post-war Italy until the 1960s, when Alberto Mondadori created his own imprint, il Saggiatore. The intellectuals playing a role in this history are many: Emilio Cecchi, whom Alberto chose as the editor of Woolf’s works, Anna Banti, Fernanda Pivano, Elio Vittorini, and others.Thanks to these documents a new and unexpected reading of Woolf emerges. Her reception and translation chez Mondadori was not influenced, as elsewhere in Europe, by her feminist themes. She was appreciated mainly for her style and for the perfection of her writing
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A good European. Richard Aldington and Italy
No full textWhen speaking about literature ‘crossing the borders’, one can refer to the actual journey abroad made by an artist – sometimes ending in (self)exile, as well as the reception of an artist in a foreign country. Richard Aldington is an intriguing figure to be studied from both points of view. Poet, translator from Italian and French, biographer and best-selling novelist, he travelled a lot around Italy with his wife to be Hilda Doolittle (H.D.) and therefore had first-hand knowledge of the country. He was very fond of Italy and its culture, and considered himself ‘a friend of Italy’, as it emerges from his letters and his novels. This essay analyses the presence and the role of Italy in Richard Aldington’s life and work – particularly his novel All Men Are Enemies – through a comparison with its Italian translation, published in a censored version under the fascist regime
“Becky Said” – “Cried Amelia”: a Metaphonological Analysis of Speeches in "Vanity Fair"
No full textThe paper wishes to analyse the representation of women from a quite unexplored point of view: that of metaphonology, namely how direct speech is introduced, or described, by the narrator, as it is actually interesting to see how women’s speech was rendered in an era when their silence was most cherished. Thackeray’s Vanity Fair offers good material to work on as it presents two different kinds of woman: the submissive ‘womanly woman,’ Amelia, and the outgoing ‘new woman,’ Rebecca. I aim at discussing how the way in which female characters speak helps in outlining their role in the novel and their attitude towards society
Oggetti solidi
No full textRecensione al volume di Virginia Woolf "Oggetti solidi. Tutti i racconti e altre prose", a cura di Liliana Rampello, traduzioni di A. Bottini e F. Durante
Keeping the Right Rhythm; the Italian (Re)translations of Virginia Woolf
No full textVirginia Woolf prose was translated in Italian for the first time in 1927. It was Carlo Linati, friend and translator of James Joyce, to translate her work, choosing some extracts from Mrs Dalloway and publishing them in the pages of «La fiera letteraria», a well known and widespread literary journal. The first Italian edition of Mrs Dalloway, though, was published only in 1946, inaugurating Alberto Mondadori’s wide project to publish Virginia Woolf’s Opera Omnia.
The essay examines Carlo Linati’s first translation attempts by comparing them to the first Italian edition of Mrs Dalloway, translated by Alessandra Scalero, and to more recent translations by Nadia Fusini (Feltrinelli 1993) and Anna Nadotti (Einaudi 2012). Eventually, extracts from an unpublished translation of The Years by Alessandra Scalero are presented and compared to Guido De Angelis’ translation, published by Mondadori in 1955, and to the most recent one by Antonio Bibbo, published by Feltrinelli in 2015. What emerges from these comparisons is the translators’ struggle to render Woolf’s experimental style by focusing on the crucial role of rhythm in her prose
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No way back: war trauma in Richard Aldington and Virginia Woolf
No full textAfter fighting as a soldier in World War One, the poet, writer and co-founder of imagism Richard Aldington was so shattered that he had to wait ten years before he was able to write about his experience at the front. His 1929 novel Death of a Hero, praised by George Orwell as “much the best of the English war books”, tells the story of a young, talkative painter, George Winterbourne, who undergoes a deep change after joining the army and experiencing the horror of war. While home on leave after several months in the trenches, George is amazed to find himself unable to communicate and interact with people, feeling “remote” from everyone and no longer belonging to his “old life”. Focusing on this sense of remoteness and marginalization, This chapter analyses how George Winterbourne is connected to – if not inspired by – Septimus Warren Smith, a character from Mrs Dalloway who is the archetypal shell-shocked veteran. By means of a comparison between George Winterbourne and Septimus Smith, this study examines how Aldington and Woolf depict the impossibility of restoring routine and recovering from the “debilitating emotions” (DeMeester) of war trauma. Back home, both George and Septimus are misunderstood by the people around them, find interaction impossible, annoy their women. In short, they are no longer the men they used to be and become the means “to criticise the social system, & show it at work” (Woolf, Diary)
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Bloomsbury writers in Italy: a comparison of the Italian publication history of E.M. Forster, Lytton Strachey and Virginia Woolf
No full textThis article examines Italian publication history of three writers commonly associated to the Bloomsbury Group through an investigation of Italian publishers’ and translators’ archives. While the publication of Virginia Woolf and Lytton Strachey rough- ly developed in the same period, E. M. Forster, whose work exhibits a strong cultural tie with Italy, had to wait almost 40 years to see his works translated and published in Italy. This article investigates the reasons for such asymmetry with a two-prongued approach: on one side, it takes into consideration the critical reception of the three writers; and on the other, it highlights the editorial polices driving the Italian translation and publication inferred through the archival documentation of the people involved in the pre-publication stage. Archival documents testify that Mondadori, which first translated and published Woolf and Strachey in Italy, also had an interest in Forster well before 1945, but never managed to obtain the translation rights
"La Woolf è scrittrice difficile e ci vuol dei traduttori coscienziosi". Le vicende traduttive delle prime edizioni italiane di Virginia Woolf
No full textL’articolo ripercorre le vicissitudini editoriali che furono alle spalle delle prime traduzioni italiane di Virginia Woolf. Consultando l’Archivio storico Arnoldo Mondadori Editori si trova, infatti, traccia dei rapporti della Casa con quattro dei numerosi traduttori che affrontarono l’opera della scrittrice, e queste carte bastano a dare un’idea di quali furono le difficoltà che la Mondadori dovette affrontare per tradurre una scrittrice dalla prosa complessa come Virginia Woolf. Viene presentata anche della corrispondenza inedita della traduttrice Alessandra Scalero, custodita presso l'Archivio Scalero di Mazzé, che aiuta a far luce su alcune scelte editoriali
"La Woolf è scrittrice difficile e ci vuol dei traduttori coscienziosi". Le vicende traduttive delle prime edizioni italiane di Virginia Woolf
No full textL’articolo ripercorre le vicissitudini editoriali che furono alle spalle delle prime traduzioni italiane di Virginia Woolf. Consultando l’Archivio storico Arnoldo Mondadori Editori si trova, infatti, traccia dei rapporti della Casa con quattro dei numerosi traduttori che affrontarono l’opera della scrittrice, e queste carte bastano a dare un’idea di quali furono le difficoltà che la Mondadori dovette affrontare per tradurre una scrittrice dalla prosa complessa come Virginia Woolf. Viene presentata anche della corrispondenza inedita della traduttrice Alessandra Scalero, custodita presso l'Archivio Scalero di Mazzé, che aiuta a far luce su alcune scelte editoriali
The Eminent Victorian and the Philosopher. Canine Perspectives in Virginia Woolf’s “Flush: A Biography” and Italo Svevo’s “Argo e il suo padrone”
No full textThis study investigates the representation of two literary dogs: Flush, the cocker spaniel protagonist of Virginia Woolf’s Flush. A Biography, and Argo, the protagonist and narrator of Italo Svevo’s novella Argo e il suo padrone. With the rise of the phenomenon of language skepticism around 1900, the topos of narrating dogs became of particular interest and both these works can be placed in the fashion of dog novels, but while Svevo, although with reversed roles, draws from the literary fashion of the philosopher dog, in which “canine narrators eloquently master the human language” (Driscoll and Hoffmann 2018), Woolf plays with the very British, and Victorian, tradition of ‘illustrious biographies’ and writes the biography of Elizabeth Barrett Browning’s cocker spaniel. By means of a zooanthropological reading of the two works, the article enquires whether the two writers try to resist anthropomorphic constructedness in the narration of their nonhuman characters and what kind of narrative device they enact to underline similarities and differences between humans and dogs. It will also try to understand if the underlying presumption of the two writers is that language is only ‘linguistic’ language, or if diverse and alternative, but equally valid, forms of communication and reciprocal understanding exist
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