Istituto Lombardo - Accademia di Scienze e Lettere - Incontri di Studio

SALUTO DEL PRESIDENTE DELL’ISTITUTO LOMBARDO

2019-08-22T16:04:19+02:00

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L’ITALIANO IN EUROPA E L’ETEROGLOSSIA LETTERARIA: UNO SGUARDO SULLE TRADUZIONI (E LE AUTOTRADUZIONI) POETICHE

2019-08-22T16:04:18+02:00

One aspect of the literary heteroglossia in Italian language, which was dealt with only cursorily in my book “La lingua di cui si vanta Amore. Scrittori stranieri in lingua italiana dal Medioevo al Novecento” (2009), is that of the poetic translation and especially of self-translation. While the former is evidenced almost only in the XVII and XVIII centuries (Bachet and Régnier-Desmarais have translated in Italian classical poets, Jagemann and Mathias modern texts), the latter reveal significant examples during the XIX century: Shelley, Platen, Dante Gabriel and Christina Rossetti, etc. All these authors are featured in the present article.

L’ITALIANO DEI FRANCESI NEI PRIMI ANNI DELL’OTTOCENTO

2019-08-22T16:04:12+02:00

During the 19th Century, many French literary works exhibit the fascination and appeal of Italy and contain numerous insertions written in Italian. On the other hand, during their stay in Italy, French writers and intellectuals often contributed to local periodicals or were welcomed into Italian Academies. Among these authors, Giovanni Salvatore De Coureil and Aimé Guillon, who are the object of this study, are famous mainly for their controversies with Monti and Foscolo. However, they also published interesting works the different linguistic and aesthetical, (both Italian and French), codes, examined with reference to the various political events relating to both Countries, from the First French Empire to Bourbon Restauration. A brief analysis of these writings illustrates their thematic variety that deals with literary and dramatic criticism as well as translation issues, in which heteroglossia phenomena intertwine with interculturalism.

MODELLI ITALIANI E FRANCESI A CONFRONTO NELLA GRAMMATICA CLASSICA DELLA LINGUA FRANCESE DI BOUDET DE MONTESQUIEU (1832)

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Although he refers to the tradition of Dumarsais and Condillac, Boudet de Montesquieu is among the first grammarians to declare explicitly that the best way to help a student learn a new language well is to explain the similarities and differences between his own language and the language he is learning. This contribution shows how this comparative method, new in the history of French didactics in Italy, reveals profound differences regarding the conception of the norm for each of the two languages.

GLI SCRITTI ‘ITALIANI’ DI MANUEL LASSALA

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This essay inquires the influence exercised by Italian language and cul-ture on the works in verse and in prose written by the author, long lived in our countryas an exile.

FRANCISCO JAVIER CLAVIJERO (1731-1787) AUTOTRADUTTORE ALL’ITALIANO

2019-08-22T16:04:13+02:00

Arriving in Italy following the expulsion of the Jesuits from all the territories of the Spanish crown, the Mexican Francisco Javier Clavijero did not delay much to conceive the work that earned him the fame of initiator of the modern Latin American historiography. Eager to correct the erroneous and, in many ways, teratological image that the philosophes had offered of America, he composed, in the Spanish language, his, still fundamental today, Historia antigua de México, which, however, for various reasons, had to remain manuscript for a long time. Instead, he published it in Italian (Storia antica del Messico, 4 vols., Cesena, Biasini, 1780-81), two years after finishing it, in March 1778. The considerable extension of the work certainly makes Clavijero credible when he claims to have imposed himself a “new and difficult task by translating [his books] into the Tuscan”. The solutions that he adopts for some translation problems in the field of the subject dealt with are preferibiles to those of most contemporary translators of similar works.

JOHANN CASPAR GOETHE E LA MEDIAZIONE CULTURALE TRA ITALIA E GERMANIA NELLA PRIMA METÀ DEL SETTECENTO. IL VIAGGIO PER L’ITALIA DEL 1740

2019-08-22T16:04:16+02:00

Johann Caspar Goethe’s Viaggio per l’Italia (1740) is a fascinating work. Today, it certainly deserves new assessments and interpretations engaging with the taste of a jurist and connoisseur of classical antiquity who was interested in Italy’s history of manners and arts. A committed Lutheran himself, he overtly criticized morals and Catholicism, thus providing valuable insights into early 18th century culture, which was still dominated by the models of Kavalierstour. Throughout the book, written in epistolary form, Johann Caspar Goethe does not mince words when he minces those who keep the people in a state of minority, especially in the Southern parts of the country. His travel report was rediscovered and edited by Arturo Farinelli in two volumes in 1932. It belonged to the books that Goethe’s father made use of to foster his son’s passion for Italy. The article sets out to retrace some steps of the journey focussing on issues of style and external intertextuality.

UN PRUSSIANO A ROMA: LE LETTERE ITALIANE DI WINCKELMANN

2019-08-22T16:04:15+02:00

In the multilingual epistolary by JJW, writing in Italian goes along with the aim of showing his agreement to the foreign welcome context/background. However, beyond its pragmatic function, W feels the energy and enthusiasm of the new idiom that he learns not without any difficulties and imperfections. Thanks to the interferences from German, the Italian language experienced in his letters, is in line with the stylistic freedom and the vis polemica of the founder of the history of art.

“COSÌ, VESTIVA IN BARBARI ACCENTI, / IL VERO AFFETTO A UN AUSONIO”: SUGLI SCRITTI IN ITALIANO DI P.B. SHELLEY

2019-08-22T16:04:15+02:00

P.B. Shelley’s attempts at writing in Italian date to the period from late Autumn 1820 to August 1821. They consist of self-translations, loose fragments, the draft of an original verse composition, an allegorical prose piece, the review of an “improvvisazione” on a classical subject by Tommaso Sgricci, and some more or less fragmentary letters. What is the value of these writings in relation to Shelley’s works? What knowledge of Italian do they suggest? What is their expressive import? How can they be best presented in a modern edition of Shelley’s works? In addressing these questions, I will suggest that these writings should be neither overvalued, nor completely ignored, and I will conclude that they have a biographical, rather than a literary, or linguistic, relevance.

L’ITALIANO DI JESSIE WHITE MARIO

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The language of the Vita di Giuseppe Garibaldi, written in Italian by Jessie White Mario in 1882, is not closely aligned with the Manzonian standard in terms of its phonetic, morphological and syntactic choices. Rather, it displays a general inclination towards double forms, and follows the custom of good, careful prose writing in the middle style typical of the period, in terms of both syntactical structures and lexis, with a sprinkling of technical terms and neologisms thrown in for good measure.

L’ITALIANO DI JESSIE WHITE MARIO (segue)

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The Italian in which Jessie White Mario’s Vita di Giuseppe Garibaldi is written is “near-native”, evidence, among other things, of the writer’s own stance in psychological terms. A convinced supporter of her adopted country, Jessie White Mario at no stage renounced her own nationality. In the pages of this volume we hear the echo of a different voice – female, foreign – which adds to and alters the predominantly male and indigenous discourse of the Italian Risorgimento.