Europa orientalis

Vladimir S. Solov’ev, traduttore di Petrarca

Andrea Lena Corritore — 2024-12-30

This essay examines the Russian translation of the final song from Petrarch’s Canzoniere, completed in 1883 by the Russian philosopher Vladimir S. Solov’ev (1853-1900). This translation represents a pivotal moment in the reception of Petrarch in Russia, significantly contributing to the emergence of the unique “mythopoetic meaning” that Petrarch’s poetry and persona later assumed within the Symbolist movement. The analysis delves into the literary and philosophical dimensions of Solov’ev’s rendition, revealing how it reflects the evolution of his thought - particularly in relation to his sophiology and his aspiration for spiritual unity between the Orthodox and Catholic Churches. Key aspects under consideration include the metric structure, stylistic choices, and symbolic nuances of the translation, with special attention to adaptations that connect the Virgin Mary to the sophiological idea ofDivine Wisdom. Solov’ev’s translation is fùrther contextualized within his broader philosophical-religious vision, which addresses themes such as love, beauty, and the transformation of humanity into Divine Humanity. Finally, the essay explores personal factors, including Solov’ev’s complicated relationship with SoT ya P. Khitrovo, which influenced specific choices in his rendering of Petrarch’s text into Russian.

“Vita nuova” in the new life. Dante’s youthful book in Stalin’s Russia

Kristina Landa — 2024-12-30

“Vita Nuova” was translated into Russian for the first time in 1895 by Al. P. Fedorov. The second translation was published in 1918 after the Revolution by Maria Liverovskaya, while the Academia publishing house made a publication of the third translation in 1934, at the beginning of the Stalinist era, by Abram Efiros. The present article analyses Abram Efros’s preface to his translation of “Vita Nuova” in the context of Academia publishing house work, didactic literature of the 1930s and Stalinist critical reviews. The aim of this article is to find out the strategies of the introduction of Dantean text, considered by Italian scholars as a combination of biblical, hagiographic and courtly genres, in Stalinist culture of the early 1930s.

Gli studi sulla traduzione della poesia russa in italiano: per un repertorio bibliografico (1964-2023)

Stefano Fumagalli — 2024-12-30

This article consists in a bibliographic review of the studies on the translation of Russian poetry into Italian from 1964 to 2023. It aims at providing a comprehensive overview of this research area, while highlighting gaps in the literature, such as under-researched poets, overlooked translators, and underexplored historical periods. The first section outlines the criteria for selecting relevant studies and explains the rationale behind the chosen timeframe. Following this, the essay identifies the most frequently studied poets, texts, and Italian translators. The third section discusses the critical methodologies and theoretical frameworks predominantly employed, considering both descriptive and prescriptive approaches. Amongst the range of specific questions addressed in this field, the last section focuses on the issue of translating the metrical structure of Russian poetry into Italian, atopic of particular relevance in the research area.

Iosif Brodskij nell’editoria italiana. Un repertorio bibliografico (1964-2024)

Greta Antonelli — 2024-12-30

This article is bibliographical in nature. It provides a list of the works (theatrical, essayistic, prose, and poetic), interviews, and dialogues of Joseph A. Brodsky translated into Italian from 1964 to the present. The article includes an introductory section illustrating the methodology employed for the collection and organization of data into macro and micro-sections. Moreover, it offers a concise, preliminary analysis of the identified sources, intended as a foundation for further, more in-depth investigations. Indeed, the aim of this study is to supply useful material for future research on the reception of the author in Italy.

The contours of Roman Jakobson’s Randbemerkungenzur Prosa des Dichters Pasternak. From Russian to Italian: a fifty-year journey (1935-1985)

Martina Mecco — 2024-12-30

This paper concerns Roman Jakobson’s article Randbemerkungen zur Prosa des Dichters Pasternak (Marginal Notes on the Prose of the Poet Pasternak). It appeared in 1935 in the Prague-German languagejoumal “Slavische Rundschau” (Slavic Review). In the same year, Jakobson published a shorter version as an afterword to Glejt, the Czech edition of Boris Pasternak’s Ochrannaja gramota (The Safe Conduct). As discovered in “Slavische Rundschau’”s archive (LA PNP - The Museum of Czech Literature Literary Archive), this writing has an inedited Russian typescripted version, signed by Jakobson. The transcript of this version is introduced by an essay which outlines the editorial history of Jakobson’s writing and contextualises the reception of Pasternak’s production in interwar Czechoslovakia.

Giovanni Maver e gli inizi della serbo-croatistica italiana

Maria Rita Leto — 2024-12-30

This article is centered on the figure of the Dalmatian Giovanni Maver, who was the first university professor of Slavic Studies in Italy. He was appointed as Head of the Chair of Slavic Philology at the University of Padua in 1921 and was a founding father of the newly established academic discipline of Slavic Studies in Italy. Special attention is here devoted to his writings on Serbo-Croatian language and literature, a thread of his research which has been less investigated than his Polish studies. After graduating from Vienna University, where he majored in romance philology, Maver began his scholarly career in Slavic studies by publishing essays on the influence of Italian on Croatian, as well as on the relationship between Italian and Croatian literatures, and on some Croatian authors such as Ivo Vojnovic e Ivo Andric. Read today, Maver’s writings appear extremely alive and significant, for they identify issues and questions that are still much debated in the contemporary critical field ofSerbo-Croatian studies.

Prefazione senza esagerare

Luigi Marinelli — 2024-12-30

Szymborska e gli altri

Teresa Walas — 2024-12-30

Basing on her private relation to Wislawa Szymborska the Author tried to describe that fascinating singularity she used to show in her contacts with the other people. She was a very sociable person, willingly taking part in the social and cultural life; but she also treasured solitude and efficiently forbade the entrance to her deep feelings and internal life. Loyal, sincere and open-hearted in friendship she was also the ingenious architect of her friends’ circle.

Szymborska e il suo taccuino. Un contributo alla critica genetica

Michal Rusinek — 2024-12-30

This is an attempt to read Wislawa Szymborska’s “Black notebook” containing notes on her poems - both the written and unwritten ones. Among them, the Author found and organized the themes characteristic of Szymborska’s poetry, as well as proposed a rhetorical and genetic reading and use the category of “anastylos” to imagine the poems that might have been written. The Author also reflects on the ontological status of the notes (fragment, element, prefabricated component, radical) and encourage an in-depth study of the “Black notebook”.

Szymborska e la tradizione. Dialoghi con il passato

Wojciech Lìgeza — 2024-12-30

The subject of this paper is intertextual references to literary and cultural traditions that testify to the originality of the Nobel Prize winner’s poetic language. In modem Polish lyric poetry, the memory of literary forms and genres, styles and conventions, and - most generally - of the old ways of creating and understanding the world, of inherited images and winged words functioning in the contemporary consciousness of the audience takes many forms, but Szym- borska’s approach is eminently individual. The poet often draws comparisons between images and rhetorical modes of expression acquired from the cultural past with our contemporary sensibility. Literary tradition in Szymborska’s work is revealed on several planes: microquotations, transformations of well-known literary and philosophical aphorisms and phrases, inventive renewals of historical styles and worldviews. The spectrum of traditions in Szymborska’s work is vast, as it includes antiquity, the biblical world, Shakespearean theater, Baroque literature and art, excursions into classicism, selected areas of Romanticism and finally - the 20th century avant-gardes. In these confrontations, it is important for her to take a critical look at the cultural heritage and the lessons that come from creative dialogue with the past.

Szymborska e/o la poesia polacca delle donne

Joanna Gradziel-Wójcik — 2024-12-30

The subject of this article is the poetry of Wislawa Szymborska in a comparative perspective, in relation to the category of ‘women’s poetry’ and the history of 20th century Polish poetry. The Author is interested in the links between the poetic oeuvre of the Nobel Prize winner and the works of other women authors, especially those who are close to Szymborska in terms of generation and who referto similar experiences - biographical, historical or socio-political. In a comparative, historical-literary and poetological perspective, both the affinities of these works (e.g. the comparison with Julia Hartwig’s poetry) and the differences pointing to the distinctiveness of Szymborska’s artistic project become apparent. A common ground for comparison may be the motif of the ‘new woman writer’, common to the poetry of Hartwig, Anna Swirszczynska, Krystyna Milobqdzka or Ewa Lipska.

Szymborska e le forme di vita. Una diversa comparatistica

Tomasz Bilczewski — 2024-12-30

Delving into the long tradition of how the natural sciences have impacted the formation of comparative literature as a discipline, this article examines the key category of comparison within Polish poetic diction. Wislawa Szymborska’s “poetry of consciousness” occupies a special place here, thematizing the mechanisms and consequences of the human mind’s proclivity for comparano in terms of diverse life forms. The Author’s main focus is two poetic notes bearing the same title (from volumes dated 1962 and 2002) that allow us to read this poetry’s exploration of the biosphere as fertile ground for exploring the possibilities, nature, and limitations of the human search for a common measure, the dialectics of similarity and difference - as key to the practices of comparative literature, in itsjuxtaposition of cultural representations with the findings of the modem natural sciences.

Wislawa Szymborska e la lingua polacca

Monika Wozniak — 2024-12-30

The article discusses the linguistic characteristics of Wislawa Szymborska’s poetry, aiming to examine the Polish language in her texts at a basic grammatical and lexical level. It points out that Szymborska’s relationship with her native language is one of trust and respect, unlike many 20th-century poets who distrusted language due to its inability to express the fast technological and social changes and the horrors of modem wars. Her poetry avoids breaking away from conventional language practices, instead relying on linguistic structures to convey her thoughts. She often emphasises the use of basic words like pronouns, prepositions, and particles and avoids vulgarities, jargon, and emotionally charged terms. Szymborska’s Polish has been consistent and coherent over her sixty-year career, with a vocabulary that remains simple and accessible. Despite the simplicity of her language, Szymborska’s poetry contains deep reflections and sophisticated thoughts, communicated through what critics call “poetry of grammar” and “poetic games with grammar”.

Szymborska e la prosa

Luca Bernardini — 2024-12-30

The paper aims to define the relationship between Wislawa Szymborska and prose. For Szymborska, a clear-cut distinction between prose and poetry was not to be related to modem literary texts. Szymborska takes advantage of this blurred boundary between literary forms to produce sophisticated “genre” games where seemingly and potentially prose texts as a critical review of a non-existent poem take the shape of a poem related to the review (in prose) Szymborska has written about a popular science text. The paper goes further in examining the two possible adjectival projections of the term “prose”, “prosy”, and “prosaic” in Szymborska’s works. Szymborska’s exploration of the “prosaic” element of life leads the reader of her “Non required readings” to unexpected narrative epiphanies, such as the one stemming out of reflections about the scarcity of palatable vegetables in socialist Poland. The paper stresses that Szymborska’s favourite prose form was the essay and relates how, in her “Non required readings” (and other prose works), she mainly reviewed scientific popularization texts, devoted much attention to the importance of a sound sense of humor, and expressed her deep admiration for such unacknowledged humourists as Thomas Mann, Michel de Montaigne or (probably unwillingly such) Helena Miszkówna.

Szymborska e il surrealismo

Giovanna Tomassucci — 2024-12-30

Before and after the Second World War, Polish artists, poets and critics were attentive to Surrealism, though not always explicitly. In the 40s and 50s, Surrealism was seen as an antidote to the stifling socialist realism, a synonym for the absurd and nonsense. The essay proposes the hypothesis that Wislawa Szymborska also fell under its spell and was inspired by the manifestos, declarations, paremiological, gnomic and literary works of André Breton’s movement, and especially by the poetry of Paul Éluard, which was well known and translated (including by Szymborska) in post-war Poland.

Szymborska e Milosz. Quale immaginazione metafisica?

Andrea Ceccherellì — 2024-12-30

The article traces the personal relations between the two Nobel Prize-winning poets, examining, in particular, their mutual writings, including the unpublished correspondence, which began in 1990. In the last part of the essay, the Author dwells on a specific topic of comparison: the imagined “world beyond”, pointing out how Milosz in his poems seeks to depict the “after” of this world, in line with a properly religious imaginative tradition, while Szymborska in some ironic “metaphysical poems” enjoys imagining the “before,” in line with the procedure of science. This specularly opposite perspective on the “beyond”, emerging from poems such as Milosz’s Sense and Szymbor- ska’s Nothingness unseamed itselffor me too, implies an opposing view of the metaphysical sense of our being in the world, which for Milosz will be “decoded” after death, while for Szymborska it is nothing but illusion, as expressed in the paronomastic title ofher poem The séance.

Szymborska e Herbert. Alcune considerazioni preliminari

Francesca Fornari — 2024-12-30

This paper presents a survey of thematic similarities and differences in the poetry of Szymborska and Herbert. The Author analyzes their correspondence, published in 2018, which bears witness to their friendship, along with their differing biographies. A brief review of studies dedicated to the parallels between the two poets is also provided. The themes where similarities and differences between the two poets are observed include: classical antiquity, torture, the conception of ethics, and existential suffering, as addressed by Szymborska in her poem “Advertisement”. In conclusion, the Author suggests that the poets’ differing visions of poetics and existence are reflected in two formulas they chose to express their “attitudes towards life: “I don’t know” for Szymborska and “despite everything” for Herbert.

Szymborska e Lipska. Jazz, fughe, variazioni e metafore

Marina Ciccarini — 2024-12-30

This essay aims to reflect on certain musical characteristics of the poetics of Wislawa Szymborska and Ewa Lipska. The musical intertext of some poems by the two poets is obviously not based on improbable precise structural convergences or analogies between worlds that are and remain different. It can, however, evoke images, provide correspondences, echoes, which open up new possibilities for reading and understanding their work, attributing fhrther meaning to our listening experience since, in some cases, music becomes a metaphor capable of generating new knowledge.

Szymborska e Lem

Luigi Marinelli — 2024-12-30

After recalling some biographical data and events that brought the fates of Wislawa Szymborska and Stanislaw Lem closer together since just after the II World War, the article aims to show the kinship of views on some fundamental issues of the two great writers, who were almost the same age. Sometimes such convergences even seem to lead to forms of intertextual relationships between the otherwise very different works of the two writers of “Cracow import”. Particular attention is paid here to some “parallels” between certain concepts expressed by Lem in Summa technologiae and Szymborska’s “ontological” poems, with particular reference to the themes of “chance”, “individual identity”, “evolution” and a shared suspicion towards metaphysics and the general non-anthropocentrism of their work, as well as the importance of rationalism and irony as keys to reading the world.

Szymborska e la traduzione

Silvano De Fanti — 2024-12-30

After Wislawa Szymborska became immensely popular in Italy at the beginning of this century, the previous Italian presence of her poetry in the second half of the 20th century has almost been overlooked. On the basis of an accurate research of journals and anthologies of that period, the Author lists 131 translations of 88 poems by 15 different translators, amounting to a potential rich anthology, almost as ample as the first anthology of Szymborska’s poetry published in Italy in 1998. The Author examines these translations evaluating their quality, and sometimes their excellence, comparing some of them to their renderings in different languages. He pays particular attention to prosody and metrics: Szymborska’s free verse results in fact in a specific musicality, depending on the constant presence of classical metres, above all the traditional Polish alexandrine in its various forms. This feature has been neglected in most of the current translations of Szymborska’s poetry.

Szymborska e la poesia italiana

Guido Mattia Gallerani — 2024-12-30

Starting from a survey of Wislawa Szymborska Italian success, the contribution analyses the reception of her work by contemporary Italian poets. They employ two main elements from her poetry: “simple style” and irony, particularly present in Vivian Lamarque’s poetry. While the former allows a colloquial tone, which aims to establish a communicative relationship with the reader, the latter is mainly used in a lyrical function: it aims at revealing contents that are unusual for the enunciative self. The investigation ends by taking into consideration some thoughts on the Polish poet by Italian authors. They demonstrate how it is possible to reconsider the image of Szymborska beyond any stereotype and, above all, how she helps to question the centrality of the lyric self, as in the case of Antonella Anedda.

Wislawa Szymborska, uno spettacolo, una mostra. Nulla di ordinario

Sergio Maifredi — 2024-12-30

Sviluppo ed evoluzione della teoria della traduzione in Unione Sovietica: un’introduzione

Francesca Biagini — 2024-12-30

The article presents the Italian translation of six Russian essays on translation theory, whilst simultaneously offering an overview of the evolution of this science in the Soviet Union. It highlights how Gumilev’s 1919 contribution, which was one of the earliest theoretical works dedicated to literary translation in Russia, laid the foundation for the linguistic paradigm of translation science articulated by Fedorov in 1953. Schweitzer’s 1970 essay further developed this framework by incorporating both pragmatic and functional dimensions, and adopting a multidisciplinary approach. During the same year, Etkind expressed his hopes for the development of an approach to translation based on comparative stylistics that would combine both linguistics and literature. The collection also includes two contemporary essays: Bagno 2016 which examines translation as a creative refuge for writers as of the 1920s, and Garbovsky 2016 which provides a critical synthesis of the concept of equivalence as theorized by key figures such as Schweitzer, Komissarov, and Gak.

La traduzione poetica

Nikolaj Gumilev — 2024-12-30

Alcune precisazioni sul problema della traducibilità e sul concetto di compiutezza (adeguatezza) in traduzione

Andrej Fedorov — 2024-12-30

Sul problema dello studio linguistico del processo traduttivo

Aleksandr Svejcer — 2024-12-30

La traduzione letteraria tra arte e scienza

Efim Etkind — 2024-12-30

Prospettive teoriche sulla categoria dell’equivalenza in traduzione

Nikolaj Garbovskij — 2024-12-30

La “nicchia” dei traduttori in epoca sovietica e il fenomeno della traduzione poetica nel XX secolo

Vsevolod Bagno — 2024-12-30