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D. H. Lawrence. New Critical Perspectives and Cultural Translation
No full textIn recent decades, critical and theoretical debate in the field of culture and literature has called into question many literary categories, has re-discussed the literary canon, has totally renovated critical approaches in the wake of major changes in western society such as the irruption of new cultural identities, the disruption of the well-established Euro-centric conception, and the need to establish new world visions.
D. H. Lawrence has been a focus for critical debate since his early publications in the first decades of the XXth century. The force of his thought, his courageous challenge against the most important values of western industrial society, his rejection of England and its bourgeois values, his choice to live in exile, his never ending quest for lost vital meanings, his open-mindedness in coming into contact with different worlds and cultures, the revolutionary impact of his writing which made him the prophet of the sexual revolution in the Sixties with the publication of the unexpurgated version of Lady Chatterley’s Lover after the trial against Penguin Publishing House: all these aspects have provided critics with important issues for discussion. Most of Lawrence’s works are still being read and analysed through ever-new critical lenses and approaches.
The present volume collects a selection of papers delivered at the XIIIth International D. H. Lawrence Conference, D. H. Lawrence: New Life, New Utterance, New Perspectives (23-27 June 2014), held in Gargnano, on Lake Garda: the place of Lawrence’s first Italian sojourn (September 1912-April 1913); the place where he started a “new life” with Frieda and a new phase as a writer.
The essays selected for Part I of this volume offer new readings of Lawrence’s work and ideology through various theoretical and philosophical approaches drawing comparisons with philosophers and thinkers such as Bataille, Darwin, Derrida, Heidegger, Benjamin, and others. Part II focuses on translation, a concept which can be extended to that of cultural mediation as it can be applied not only to the proper translation of texts from one language into another, but also to travel writing and to transcodification as is the case of film versions of Lawrence’s novels
D. H. Lawrence and Cultural Medition
No full text“Translation” is a concept that can be applied to proper translation as
well as to travel writing. Indeed, Lawrence can be defined a cultural mediator
between English readers and the Italian culture, both for his experience as
traveller – an experience which reverberates in his travel writings and in many of
his works – and as translator. Italy is the place where Lawrence lived the longest
and his growing competence with the Italian language made him decidd to translate some of
Giovanni Verga’s novels and stories, a difficult challenge as Verga’s
texts were not simply in Italian but in a language imbued with regional
connotations and which, even though it was not proper Sicilian dialect, tended to
reproduce the rhythm and syntax of the language spoken in Sicily at the time
Verga lived. In his very few general comments on translation, Lawrence rejects
the idea of simply adopting another dialect of the target language and suggests
that the translator has to try and invent words and images which retain the
flavour of the specific local region of the original text. In his dual role of traveller
and translator Lawrence acted as cultural mediator between English readers and
the Italian culture, making Italy and Italian literature known to English readers;
at the same time Italy inspired many of Lawrence’s writings and helped him define his world view
The literary gaze. English culture and literature from the Middle Ages to the Restoration
No full textThis volume offers a survey of the development of English literature from the Middle Ages to the Restoration. The central dicourse focuses on Shakespeare (9 chapters out of 23 are dedicated to the discussion of his works). An analysis of significant passages from different authors and representative of different literary genres is also included
William Shakespeare e il senso del comico
Full text link[English]:Comedy is a genre difficult to define for its ambiguity and elusivenness; however, it is probably its flexibility and undefined contours that make it particularly suitable to Shakespeare’s experiments of new forms in his dramatic writing. The great dramatist, with his inexhaustible creative vein, pursues a constant, endless research of new languages and new forms and ways as to the structuring of the dramatic discourse: themes, places, characters, theatrical functions and solutions, metatheatrical elements, the mixing of different theatrical genres, are arranged in the Shakespearean comic matter producing light and pleasant texts; however, these comedies are always of great substance and complexity, and their problematic dimension is often emphasised by what can be defined as a “dark comic mode” which makes the Shakespearean comedy a sophisticated and refined tool for critical analysis.
The contributions of this volume discuss Shakespeare’s comic writing, examining its theatrical functions, its connections with popular traditions and with the social and economic problems of the time, specific linguistc choices and uses, powerful characters such as Falstaff who has gone beyond the boundaries of his own texts to come to new life in works by other authors and other arts, re-writings and appropriations by different cultures, contemporary Italian theatre productions. Shakespeare’s most popular comedies – from The Taming of the Shrew to Twelfth Night, from A Midsummer Night’s Dream to The Merchant of Venice, from As You Like It to Cymbeline – are studied and discussed by different critical perspectives in the single essays of this collection, offering, as a whole, a rich and organic view of Shakespeare’s comic writing. / [Italiano]:La commedia, un genere fluido quando non fortemente ambiguo, risulta estremamente complessa da definire nei suoi contorni sebbene sia proprio la sua duttilità e flessibilità a farne un terreno fertile e particolarmente adatto alla sperimentazione teatrale nella scrittura di William Shakespeare. Il grande drammaturgo, con la sua inesauribile vena creativa, persegue una costante e inesausta ricerca di nuovi linguaggi e di nuove forme e modalità di strutturazione del discorso teatrale: temi, luoghi, personaggi, soluzioni e funzioni teatrali, commistioni di generi, elementi metateatrali, si dispongono nella materia comica shakespeariana all’interno di testi leggeri e divertenti ma sempre di grande spessore e di profonda complessità in cui la dimensione della problematicità viene in diversi casi accentuata attraverso una modalità “dark comic” che fa della commedia di Shakespeare un raffinato strumento di riflessione critica.
I contributi che compongono questo volume discutono della scrittura comica shakespeariana per approfondirne modalità e funzioni teatrali, connessioni con le tradizioni popolari o con le questioni socio-economiche del tempo, usi particolari del linguaggio, personaggi potenti come Falstaff che ha travalicato i confini del proprio testo per abitare opere di altri autori e di altri generi, rivisitazioni in culture diverse e transcodificazioni in generi differenti, rappresentazioni e allestimenti contemporanei italiani: la grande produzione comica shakespeariana – da The Taming of the Shrew a Twelfth Night, da A Midsummer Night’s Dream a The Merchant of Venice, da As You Like It a Cymbeline – viene così attraversata e interpretata da prospettive critiche diverse che, nel loro insieme, costruiscono e offrono una visione organica e ampia della commedia di Shakespear
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