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    Wyświetlanie 1-3 z 3
    Tytuł:
    Trascrizione e traduzione: esperienze parallele in musica e poesia
    Autorzy:
    Masi, Leonardo
    Powiązania:
    https://bibliotekanauki.pl/articles/2081248.pdf
    Data publikacji:
    2017
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    translation
    poetry
    transcription
    Polish literature
    music and literature
    Opis:
    Transcription and translation: parallel experiences in music and poetry – Referring to some personal experiences and some statements by Norman Davies, Umberto Eco and Fabio Scotto, the author tries to find analogies between translating poetry and transcribing music. Before and behind the performer’s work, the translator and the transcriber deal with important issues such as timbre and tone, which are not less important than parameters easier to define and more debated (rhythm, phonics). The translator of poetry should “think for poetry”, paraphrasing the title of Leibowitz’s book about transcription Thinking for orchestra.
    Źródło:
    Kwartalnik Neofilologiczny; 2017, 4; 467-476
    0023-5911
    Pojawia się w:
    Kwartalnik Neofilologiczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Invito alla riscoperta e alla traduzione di Mario Rapisardi
    Invitation to the Rediscovery and Translation of Mario Rapisardi
    Autorzy:
    La Rosa, Gabriele
    Powiązania:
    https://bibliotekanauki.pl/articles/1929922.pdf
    Data publikacji:
    2020-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Rapisardi
    Catania
    Polska
    translations
    poetry
    Polonia
    traduzioni
    poesia
    Opis:
    This article is intended to constitute a first approach towards a critical, comparative, and bibliographic study of the forgotten figure of Catania-born Mario Rapisardi (1844-1912), “the Etnean poet.” A poet and polemicist, he expressed himself in the climate of Positivism during and after Italian Unification, distinguishing himself with an ethical temper that did not make him abandon the Promethean tension towards ideals. Due to these ideals, the poet came into conflict with both the academic and ecclesiastical worlds, resulting in his consequent literary isolation—but not social and human isolation, clearly demonstrated by the fact that more than 100,000 people would attend his funeral. This article is also an invitation to rediscover and translate Rapisardi’s work into Polish, as his presence is almost non-existent, given that only four short poems are translated into Polish: three published in 1921 (Disinganno, La montagna fatale, Dinanzi a un ritratto) and one in 1931 (Nox). The translations are by Jadwiga Lipińska, Józef Puzyna, Julian Ejsmond, and Julia Dickstein-Wieleżyńska, respectively. The article chronologically traces the Polish criticism of Rapisardi, starting from 1880 with two articles by Polish writers and literary critics Waleria Marrené-Morzkowska and Julian Adolf Święcicki, up to the present times, and is based both on studies by famous literary scholars, such as Maurycy Mann, and on articles that appeared in literary magazines, such as Przegląd Humanistyczny and Przegląd Współczesny.
    Questo articolo vuole costituire un primo approccio verso uno studio critico, comparatistico e bibliografico della dimenticata figura del catanese Mario Rapisardi (1844-1912), “il vate etneo”. Poeta e polemista, egli si espresse nella temperie del Positivismo durante il periodo risorgimentale e post-risorgimentale italiano distinguendosi per la sua tempra etica che non gli fece dismettere la tensione prometeica verso gli ideali. Per essi il poeta entrò in contrasto sia col mondo accademico sia con quello ecclesiastico con il conseguente isolamento letterario, ma non sociale e umano tanto che al suo funerale presero parte oltre centomila persone. Il presente articolo è anche un invito alla riscoperta e alla traduzione in polacco dell’opera del Rapisardi - pressoché inesistente visto che risultano tradotte in polacco solo quattro brevi poesie: tre pubblicate nel 1921 (Disinganno, La montagna fatale, Dinanzi a un ritratto) e una nel 1931 (Nox). Le traduzioni sono rispettivamente di Jadwiga Lipińska, Józef Puzyna, Julian Ejsmond e Julia Dickstein-Wieleżyńska. L’articolo ripercorre cronologicamente la critica polacca su Rapisardi, a partire dal 1880 con gli interventi della scrittrice Waleria Marrené-Morzkowska e del traduttore Julian Adolf Święcicki, fino ai tempi odierni, e si basa sui contributi di studiosi di letteratura come Maurycy Mann, nonché su articoli apparsi su riviste letterarie come Przegląd Humanistyczny e Przegląd Współczesny.
    Źródło:
    Italica Wratislaviensia; 2020, 11.2; 137-160
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Formare l’homo sovieticus. L’influsso dell’ideologia comunista sulle prime traduzioni polacche delle filastrocche di Gianni Rodari
    Forming Homo Sovieticus: The Impact of the Communist Ideology on the First Polish Translations of Gianni Rodari’s Poems
    Autorzy:
    Nicewicz, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/2162244.pdf
    Data publikacji:
    2022-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    poetry
    Gianni Rodari
    Janusz Minkiewicz
    communism
    translation
    filastrocche
    comunismo
    traduzione.
    Opis:
    Gianni Rodari’s works first appeared in Poland when he was yet little known, if not rather unpopular, in his homeland. In the 1950s, Italian criticism ignored Rodari’s literary efforts as a ‘militant’ communist, his works only reached a narrow circle of readers, and it would take some years until he garnered popularity in his homeland. Meanwhile, what the Italians failed to appreciate appeared to be gaining an almost instant recognition in the USSR and the Eastern Bloc countries. As a member of the Italian Communist Party, the Editor-in-Chief of the children’s magazine Pioniere, and an eager supporter of communism, Rodari won favour with the authorities of the Polish People’s Republic. The earliest translations of Rodari’s poetry were published in the Polish press as early as in 1953. They were based on Russian translations by Samuil Marshak, whom the Polish authorities notably considered a perfect children’s writer. Both Russian and Polish versions of Rodari’s poemst tend to differ greatly from the original texts and to bear a heavy ideological imprint. My argument in this article seeks to answer the following questions: Which of Rodari’s poems were translated into Polish in the 1950s and by whom? How are they different from the Italian originals? What was their reception in Poland? How was Rodari portrayed in Poland at the time?
    Le prime opere di Rodari arrivarono in Polonia quando lo scrittore era ancora poco conosciuto in patria, o addirittura mal visto a causa delle sue convinzioni politiche. Infatti negli anni Cinquanta la critica italiana ignorava gli sforzi letterari di questo comunista “militante” e le sue opere, pubblicate dalle case editrici del partito, raggiungevano una ristretta cerchia di lettori. Il successo sarebbe arrivato solo dopo con l’inizio della collaborazione con Einaudi; ma intanto ciò che non piaceva ai suoi connazionali fu accolto con entusiasmo in Urss e in altri stati del blocco comunista. In quanto membro del Partito Comunista Italiano, direttore della rivista per ragazzi “Pioniere” e convinto sostenitore del comunismo, Rodari godette subito della benevolenza delle autorità della Repubblica Popolare Polacca. Le prime traduzioni dei suoi componimenti, volte dal russo a partire dalla versione curata da Samuil Maršak – considerato autore-modello di opere per l’infanzia –, apparirono sulla stampa polacca già nel 1953. Le poesie, sia in russo che in polacco, differivano spesso in maniera notevole dal testo fonte e erano dense di una forte carica ideologica. Nel presente saggio si cercherà di rispondere alle domande: quali filastrocche di Rodari sono state tradotte in polacco negli anni Cinquanta? Da chi? In che cosa si differenziavano dal testo di partenza italiano? Come vennero accolte? Come veniva rappresentato il loro autore nella Polonia comunista?
    Źródło:
    Italica Wratislaviensia; 2022, 13.2; 149-175
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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