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Table of contents

Ricordi nella Firenze tra Medioevo e Rinascimento , Milano, Villani, Cronaca , G. Porta a cura di , Parma, , VI, p. Arany, Firenzei-magyar kereskedelmi kapcsolatok a Kubinyi, J. Laszlovszky e P. Freedman e M.

  1. .
  2. Il vaso d'oro - Wikipedia!
  3. Il Tabarro: libretto I/E?
  4. Waltz With Me.
  5. Chinas New Consumers: Social Development and Domestic Demand.
  6. Il vaso d'oro ed altri racconti?
  7. Maurice (Italian Edition)!

Bartosiewicz, Animal husbandry and medieval settlement in Hungary. Becker, H. Manhart, J.


Peters e J. Schibler a cura di , Historia animalium ex ossibus. Bartosiewicz e E. Gerelyes e Gy. Tanzini e S. Branca a cura di , Venezia e Ungheria nel Rinascimento. Venezia, giugno , Firenze, , p.

  1. ;
  2. Elaborato Peritale E Diritto DAutore I Libri Del Perito V -
  3. Acts of Pleasure.

Carter, Trade and urban development in Poland. An economic geography of Cracow from its origins to , Cambridge, Engel, The Realm of St. Engel, G. Luca e G. Fara, Il conflitto e la crescita. Fara, Economia di guerra, economia di pace, economia di frontiera. La Transilvania di Sigismondo di Lussemburgo , in I.

Pop, T. Damian, I. Dumitran, L. Simon a cura di , Extincta est lucerna orbis. Amatori e A.

Pop, M. Popovic e A. Alcune osservazioni , in P. Denjean e L.


Samsonowicz e P. Spallanzani a cura di , Produzione, commercio e consumo dei panni di lana. IX raccolta di saggi. Visy et al.

Il vaso d'oro ed altri racconti by E.T.A. Hoffmann

Huszti, Mercanti italiani in Ungheria nel Medioevo , in Corvina , 3, , p. Kiss et al. Kiss, Z. Czinege e Z. Jahrhundert , in E. Westermann a cura di , Internationaler Ochsenhandel The case of Hungary , in A. Kubinyi, Mittelalterliche Siedlungsformen in Westungarn, in E. Kubinyi e J. Nagy e M. Bak for his 70 th , Budapest, , p.

Luca, Dacoromano-Italica. For the Edinburgh Gadda Group, now also affection- ately known as the Gifuni Group, turning the opportunity that was too great into a captivating physical agent of further global circulation has also meant a highly valuable early career training experience, as our contributors proiles also conirm.

We trust that this privileged instant in the ininite archive of human endeavour, having passed through Gadda and now also passing through Edinburgh its server, its University Press, its postgraduate students , will continue to win the one argument without which the world would be a very sad place. Endnote This chapter makes use of notions and approaches from translation studies. The role of translation in the circulation of literature is a major focus for Lefevere Translation as circulation agent, initially taken by translation studies from sociology, is presented in its many aspects in Milton and Bandia 1— Appiah was the irst to introduce this translational strategy and translational agenda.

The third English translation was not discussed as part of this chapter, despite mention of an English Gadda in four volumes. Atlas is a small independent publisher that special- ises in twentieth-century experimental iction, with a focus on France the translator himself, Antony Melville, normally works from English into French. The book is a slim eighty-page long paperback edition of a fairly conventional short story. Inevitably, given the choice of text, translation no. However, this was the irst single-volume translation to appear in English since , and the irst ever to be entirely originated in the UK, possibly in the wake of the active British scene of recent years — in short and all considered, a highly positive development.

It was also with this translation in mind that, when the opportunity that could be great presented itself through the collaboration between Fabrizio Gifuni and Federica Pedriali, the translation project, which like the encyclopedia and the prize had been among the things to do next since , became that of a translation plus, on and around an actual translation task of small proportions.

In this case, in fact, small proportions could have signiicant implications, given the poignancy that the former acquire when handled by agents, like Gifuni, ready to commit whatever single- minded vision it takes to bring a project to fruition — one of the most uncanny things there are. Translation Christopher John Ferguson The job of translating Gadda is one that cannot be taken lightly. It was with this commandment — to do my best — ringing in my ears that I embarked on this translation.

Luckily, this is not a case of the translator working alone. Cristina Olivari is another enthusiastic student of Gadda, and we saved each other immeasurable amounts of time and effort by combining expertise and knowledge of the foibles of our respective madrelingue. It is the irst time I have collaborated so directly with someone on a translation project and I must say it was an experience that I would deinitely like to repeat. This was also the irst time we had worked with a CAT programme in an attempt to produce a translation that is more consistent, bearing in mind that we were dealing with the fusion of two disparate texts by the same author.

A computer-assisted translation, such as the one we produced using the open source programme OmegaT, is not the same as machine translation this is what Google Translate and BabelFish do. The software in this case analyses your translation as you write, remembering when certain word strings were translated in certain ways before.

Other features that ensure accuracy include formatting tags and sentence-by-sentence breakdown of the source text. Gadda constantly revisits the same concepts, conceits and words, and this was something that we had to preserve. This resulting new work is what provided the context and the blueprint for a irst English translation of the primary Gadda, which is what we have produced. Gifuni opens the play by quoting Shakespeare. For once, this is a great situation for the translator of Gadda into English to be in because it sets a register that the audience will immediately rec- ognise as being literary and theatrical.

Shakespeare is eloquent, elegant, dificult even, but crucially he is also a great innovator of English and grabs the attention of the English-speaking reader in a very speciic way. Implicitly, he has also elevated the translator, especially the translator into English, who is being offered, shall we say, a similar mantle. This then establishes the tone for what follows in more ways than one, and more important still, it sets the translator free to innovate, to translate — a rare thing judging from the scarcity of English translations of our author.

Gadda is a writer who loves to jump between high and low registers, sometimes lyrical and sometimes satirical, sometimes eschatological and sometimes scatological. By common critical consent, it is in this jumble of styles that Gadda inds his own style, and relecting both the high and low was something that we as translators were very conscious of.

To give a couple of examples, the closing monologue of the irst section of the play is rather involved as well as abstract and philosophical in style. It does not actually come from the Giornale di guerra e di prigionia — it is one of the discarded compositional notes for the later Cognizione del dolore: [. The entire fragment is a dificult one, especially because we are trying to engage the audience after they have read lines and extemporisation on lines from Hamlet and maintain the theatrical effect.

We are also in a position where we must handle our readers with care, given that their expectations for the piece are only now beginning to form. We found the whole of this passage challenging, but this selection presented special dificulties.