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L’uso dei tempi e dei modi, traduzione delle espressioni fisse, idiomatiche e metaforiche e cambiamenti dei costrutti frasali nella versione polacca de «I dodici abati di Challant». Come superare i limiti di un sistema linguistico

100%
Salmeri C.
Studia Romanica Posnaniensia
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2013
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vol. 40
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issue 3
81-94
EN
The purpose of this paper is to present a comparative analysis of a novel written in Italian by Laura Mancinelli, 'The Twelve Abbots of Challant', and its translation into Polish prepared by Maciej Brzozowski. Focusing on a few examples, such as the use of grammatical tenses and moods, differences in the syntax, and the problems of translating idiomatic and metaphoric expressions, the paper aims to compare the author’s style with that of the translator. The task undertaken by the translator seems very hard indeed from the very beginning due to considerable differences between the Italian and Polish languages in the use of tenses and moods. While the Italian grammar uses four moods, eight simple and seven compound tenses, the frugal Polish grammar makes with just three modes, one compound and three simple tenses. The discussion will clearly illustrate that thanks to some modifications it was possible to translate and preserve the meaning and the spirit of the Italian grammar and style.
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Représenter la flaua bilis: le portait du colérique dans l’Iconologia de Cesare Ripa

99%
Koźluk M.
Studia Ceranea
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2022
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vol. 12
633-650
EN
Representing the flaua bilis: the Portrait of the Choleric in Cesare Ripa’s Iconology. The theory of the four humours (blood, phlegm, yellow bile and black bile) forms the basis of ancient medicine. Coming from the Hippocratic corpus and completed by Galen of Pergamum (129–216 AD) in his De Temperamentis by means of individual complexions (blood, phlegmatic, angry, melancholic), this theory is essential in modern Europe after more than two thousand years of transmission, development and practice of medicine. Our article aims to examine its fortune in the Iconology of the Italian scholar Cesare Ripa (1555–1622). Starting with the Roman edition of 1603, he enriched his famous allegorical repertoire with a complex entry encoding the four temperaments: Collerico per il fuoco, Sanguigno per l’aria, Flemmatico per l’acqua, Malenconico per la terra. We work here only with the Choleric and undertake to determine the reasons which governed the choice of the attributes retained by C. Ripa (youth, nudity, sword, shield adorned with a flame, lion, fury in the gaze) to offer poets, painters and sculptors the archetype of a figure dominated by yellow, hot and dry bile. To this end, we analyze the medical, literary and iconographic sources on which the author relies, considering also the richness and complexity of the medical discourse he had at his disposal and the very purpose of his Iconology.
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