Search results

1

Poeta zaświatu przedstawionego: Dante u Miłosza

100%

Ceccherelli A.

Świat Tekstów. Rocznik Słupski

|

2012

|

issue 10

165-178

EN

Dante’s presence in Miłosz’s works dates back to the Thirties, when the young Polish poet was under the influence of his cousin, the French-Lithuanian poet Oskar Miłosz. Oskar’s high opinion about Dante is clearly reflected in Czesław’s essays of these years, where he contrasts the figure of the Italian poet both with the supporters of engagé art and with the worshippers of formal plays and pure art. In later essays by Miłosz, Dante is often named in texts concerning metaphysical issues, especially the relationship between faith and imagina-tion. The name of the author of The Divine Comedy evokes by contrast a phenomenon which is typical of contemporary civilization: the erosion of religious imagination. Two images of Dante which are traditional in Polish culture, fixed during Romanticism, i.e. Dante poet of exile and Dante poet of Hell, undergo change and actualization in Miłosz’s works: Dante is indeed associated with exile, but it is rather a spiritual exile, marking the whole contemporary civilization, deprived of its religious roots; and he is not the poet of Hell alone, rather the poet of the otherworlds – represented otherworlds.

2

Sulle barricate trent’anni dopo. L’esperienza dell’insurrezione di Varsavia nelle poesie di Anna Świrszczyńska

100%

Ceccherelli A.

pl.it / rassegna italiana di argomenti polacchi

|

2019

|

issue 10

64-79

EN

The article focuses on the poetry collection Budowałam barykadę (Building a barricade) by Anna Świrszczyńska, published in 1974, thirty years after the Warsaw Uprising, which is the theme of the volume. During the past three decades, the author worked out an essential style that was free of pathos, objective, and close to the colloquial speech, which proved to be the only possible way of speaking about such dramatic events as those lived and observed during the uprising when the author was a field nurse helping the insurrectionists. Thanks to its stylistic discipline, the short poems of Budowałam barykadę are the most durable poetic witness of the Warsaw Uprising.

3

Rappresentazioni mentali e serie interpretative. L’infinito e Alla luna in polacco

100%

Ceccherelli A.

Italica Wratislaviensia

|

2022

|

issue 13.2

15-34

IT

L’articolo prende in esame le “serie traduttive” polacche di due idilli di Leopardi: L’infinito e Alla luna, concentrandosi su alcuni fattori linguistici e culturali che condizionano i traduttori, indirizzando le loro scelte. In particolare, nell’Infinito si nota una difficoltà a rendere l’alternanza dei dimostrativi “questo” e “quello” e la metafora chiave del “naufragare”: in entrambi i casi la lingua polacca pone ostacoli in termini di rappresentazione mentale suggerita dai presunti equivalenti lessicali, con la conseguenza che la scena costruita dai traduttori fatica a porsi come equivalente rispetto alla scena costruita dall’autore. Nelle versioni polacche di Alla luna colpisce invece la tradizione interpretativa riguardante l’ultimo verso: il secondo “che” di “ancor che triste e che l’affanno duri” è infatti inteso da tutti i traduttori in senso ottativo – come un auspicio. Dopo aver mostrato, tramite la variantistica, che l’intentio auctoris prevede inequivocabilmente una frase concessiva e che l’intentio operis non ammette lo stereotipo del masochismo (degenerazione del topos di Leopardi cantore del Weltschmerz), l’articolo si concentra sulla intentio interpretis (forma specifica di intentio lectoris), ipotizzando che all’origine di tale tradizione di tradimento traduttivo vi sia non solo la probabile dipendenza di ogni versione da una o più di quelle che la precedono (come è il caso di quelli che la filologia testuale chiama “errori congiuntivi”), ma anche – a fronte dell’assenza di tale tradizione interpretativa in altre lingue e culture – un’inconscia predisposizione mentale dei traduttori polacchi ad accettare un simile travisamento; predisposizione le cui radici sono da cercare nella storia della cultura polacca quale si è andata formando – e deformando – a partire dall’Ottocento, soprattutto in riferimento al ruolo che in essa occupa da allora il culto della sofferenza.

EN

The article examines the Polish ‘translation series’ of two idylls by Giacomo Leopardi: L’infinito and Alla luna, focusing on selected linguistic and cultural factors behind the translators’ choices. In L’Infinito, one notices a recurrent difficulty in effectively rendering the alternation of the demonstratives questo and quello and the key metaphor of naufragare. In both cases, the purported Polish lexical counterparts fail to produce an adequate mental representation, and as a result the scene constructed by the translators hardly conveys the scene constructed by the author. For their part, the Polish versions of Alla luna display a striking interpretative tradition of the last verse, with the second che in ‘ancor che triste e che l’affanno duri’ understood by all translators in an optative sense (as a wish), rather than in a concessive sense. Having used the variantist approach to show that the intentio auctoris unequivocally provides a concessive phrase and that the intentio operis does not admit the stereotype of masochism (a degeneration of the topos of Leopardi as a Weltschmerz poet), I focus on the intentio interpretis (a specific form of intentio lectoris) and argue that this tradition of translatory infidelity stems not only from the probable reliance of each version on its predecessor(s) (typical of what textual philology calls ‘conjunctive errors’), but also – given the absence of such an interpretative tradition in other languages and cultures – from the Polish translators’s unconscious mental predisposition to accept such a misrepresentation. The roots of this predisposition are to be found in the history of Polish culture as it has been formed – and deformed – since the 19th century, when the cult of suffering became central to it.

4

Metrum i pistolet. Zasady przekładu poetyckiego według Antona Marii Raffa

100%

Ceccherelli A.

Tematy i Konteksty

|

2020

|

vol. 15

|

issue 10

23-35

EN

The article presents the strategies adopted in translating Polish poetry by Anton Maria Raffo (1937–2018), one of the most outstanding Italian translators of Polish literature. In his constant striving to reproduce the metre and, whenever possible, the rhymes, he distinguished himself from the dominating trends of poetry translation in Italy, prescribing the use – and abuse – of vers libre even for metrical and rhymed poetry. Raffo translated poets who still used traditional versification like Jan Kochanowski (a true masterpiece is his translation of Kochanowski’s Pieśni – Odes), Adam Mickiewicz or Bolesław Leśmian, but also XXth-century poets like Czesław Miłosz, Zbigniew Herbert or Wisława Szymborska, among whose works he selected and translated the poems which present a certain metrical regularity. A.M. Raffo’s lesson was followed by several other translators of Polish poetry in Italy.

PL

W artykule przedstawiono strategie tłumaczenia poezji polskiej Antona Marii Raffo (1937-2018), jednego z najwybitniejszych włoskich tłumaczy literatury polskiej. W swoim nieustannym dążeniu do reprodukcji metrum i, w miarę możliwości, rymów, odróżniał się od dominujących trendów przekładu poezji we Włoszech, zalecając stosowanie – i nadużywanie – wiersza wolnego nawet w poezji metrycznej i rymowanej. Raffo tłumaczył poetów, którzy nadal posługiwali się tradycyjną wersyfikacją, jak Jan Kochanowski (prawdziwym arcydziełem jest jego przekład Pieśni – Ody Kochanowskiego), Adam Mickiewicz czy Bolesław Leśmian, ale także poeci XX wieku, jak Czesław Miłosz, Zbigniew Herbert czy Wisława Szymborska, wśród których wybrał i przetłumaczył wiersze, które wykazują pewną prawidłowość metryczną. Strategię Raffo wykorzystało kilku innych tłumaczy polskiej poezji we Włoszech.

Refine search results

1 Italica Wratislaviensia

1 Tematy i Konteksty

1 pl.it / rassegna italiana di argomenti polacchi

1 Świat Tekstów. Rocznik Słupski

4 Ceccherelli A.

1 2022

1 2020

1 2019

1 2013

Poeta zaświatu przedstawionego: Dante u Miłosza

Sulle barricate trent’anni dopo. L’esperienza dell’insurrezione di Varsavia nelle poesie di Anna Świrszczyńska

Rappresentazioni mentali e serie interpretative. L’infinito e Alla luna in polacco

Metrum i pistolet. Zasady przekładu poetyckiego według Antona Marii Raffa