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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
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Filling the void: Virginia Woolf and the feminism of difference in Italy
Get PDFUsing unpublished archival material, this article analyses the reception of Virginia Woolf in the Milanese feminist context of the late 1970s, attempting to understand the role Woolf’s work played in the theoretical development of the feminism of difference in Italy. The study focuses on two key texts: the Italian publication of Three Guineas by the feminist press La Tartaruga; and the Catalogo giallo, the second publication of the Milan-based Libreria delle donne, which played a vital role in the evolution of the feminism of difference
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
L'eredità del pensiero ecologico
No full textIntroduzione al numero tematico "Ecocritica e ecodiscorso. Nuove reciprocità tra umanità e pianeta"; sintesi e problematizzazione della corrente ecocritica nel mondo anglo-americano, francese e italiano; presentazione delle sezioni e dei contributi del volume
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Richard Aldington. Death of a Hero
No full textPublished in 1929 by Chatto & Windus (UK) and by Covici Friede (USA), Richard Aldington’s first novel Death of a Hero has been called one of the best fictional treatments of the Great War (Copp 2002, 15), and was described by George Orwell as “much the best of the English war books” (1970, 261). The merit of the novel which makes it still worth reading is that it is not a tribute to war, but “evidence of how war reduces one to the barest elementary humanity” (McGreevy 1931, 34). The description of war in the novel is anti-heroic, giving a thorough and solid account of not just the fear and despair, but also the dirt, illness and, above all, boredom and loneliness that soldiers experienced in the trenches, of which Aldington had first-hand experience. The novel has, in fact, an autobiographical basis; it is divided into three parts, with the first two devoted to the protagonist’s coming of age, and only the last part set during World War I. This final part is significant for its disenchanted take on war, stressing not only the physical destruction of the body, but the obliteration of the sense of self and of one’s place in the world. Aldington’s works had been out of print for a few years, but thanks to the renewed critical attention towards World War I literature in concomitance with the commemoration of the centennial of the Great War, Penguin decided to republish Death of a Hero in the Classics series in 2013, thus confirming the canonical status of the novel
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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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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
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
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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