{"id":668,"date":"2019-11-12T02:10:51","date_gmt":"2019-11-12T02:10:51","guid":{"rendered":"http:\/\/sites.rutgers.edu\/italian-translation\/?p=668"},"modified":"2019-11-12T02:10:51","modified_gmt":"2019-11-12T02:10:51","slug":"esposito-comments","status":"publish","type":"post","link":"https:\/\/sites.rutgers.edu\/italian-translation\/esposito-comments\/","title":{"rendered":"Esposito — Comments"},"content":{"rendered":"

Dante Divina Commedia, Canto V, Translation comparison \u2013 Rogers\/Norton<\/strong><\/p>\n

September 25, 2019 \u2013 Anita Hotchkiss<\/p>\n

I looked at the same translations, and I noticed the same mismatch in lines between Dante\u2019s original text and Rogers\u2019 \u201ccompressed\u201d version. I was also curious about why Rogers omitted words, seemingly at random. I can\u2019t find any rhyme scheme that Rogers is following, but I do see now that there are 10 syllables in each verse. This doesn\u2019t seem to me to be the greatest compensation to Dante\u2019s rhyme scheme, and since it obligates Rogers to omit some words apparently, it seems to be more of a hinderance than anything.<\/p>\n

I agree that Dante\u2019s implication that da Rimini and her lover had transitioned from reading about adultery to acting it out was reflected in the original text better than the translations. I wonder if the change had anything to do with the translators\u2019 possibly more Puritan values? I had read that Dante\u2019s portrayal of lust featured in this chapter was different than how most artists at the time portrayed it. Dante\u2019s contemporaries often portrayed lust in Hell with graphic depictions of sex and violence. Dante takes a different view, and his values seem to portray that lust is something that is difficult, if not impossible, to resist. I wonder if older translators attempted to comprehend and accurately translate Dante\u2019s intentions, even if they did go against their own values? I know that translators of The Iliad <\/em>in earlier centuries purposefully excluded any reference to Patroclus and Achilles\u2019 relationship as anything but platonic, and taught students to ignore those aspects, despite Plato famously declaring their relationship as something other than platonic in his Symposium.<\/em><\/p>\n

I didn\u2019t know anything about \u201cthe Grand Tour,\u201d so that was interesting to read about! I had taken the need for notes a different way: that is, Norton used, in instances, language that was archaic to even his contemporaries, and I wondered why he would feel the need to use archaic language with notes instead of using contemporary (or near-contemporary) language without the interference. However, I had completely forgotten about cultural references that may need explaining. I wonder how difficult it is to decide, for a translator, which cultural notes should be included, and which are excessive? Minos is a character I think many people have heard of, but maybe they don\u2019t know that he was a judge in the Underworld in Greek myths. Is this a note that would enhance the reader\u2019s experience, or take them out of the story?<\/p>\n

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Translation of Ungaretti\u2019s \u201cVeglia\u201d & \u201cSoldati\u201d<\/h1>\n

October 4, 2019 \u2013 Greer M. Egan<\/p>\n

I thought it was an interesting observation you made that the fallen soldier is described almost like an animal; I hadn\u2019t made that observation. I wonder what effect that was meant to have on the reader?<\/p>\n

I like that you translated \u201cbuttato vicino\u201d as \u201ccrouched close\u201d \u2013 I think it gives a much more claustrophobic image than \u201cthrown beside.\u201d It makes me think of the war trenches in movies.<\/p>\n

For the second poem, I\u2019ve been looking more at how the first line is translated; I had never considered to use the first person plural. I found that native Italians find the structure to be odd and vaguely ungrammatical. They described it as \u201cimpersonal\u201d, and the most literal translation they decided on was \u201cit.\u201d However, they agreed that \u201cwe\u201d or even \u201cI\u201d would fit better.<\/p>\n

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 <\/p>\n

Eco\u2019s Perception of Translation<\/h1>\n

October 8, 2019 \u2013 Giovanna Tsiolas<\/p>\n

I think what you write about translations of Homer for the modern reader is interesting \u2013 whether the text should be translated so that the reader may feel like a Ancient Greek reader, or if the text should be modified as if Homer had written it today. This applies mostly to fiction, I believe. I think that in this, Eco presents us with a false dilemma and a false dichotomy. Why must these be the only two options? The translator may acknowledge their contemporary reader\u2019s cultural knowledge and make those areas more accessible to the reader through footnotes, endnotes, or an expansion of the text; or the reader may modify the lexical and syntactic choices to give the text a different tone. As you write, translation is a<\/em> solution, not the <\/em>solution. The translation is a system that has individual parts composing it; each of those parts can be modified to modify elements higher up on the hierarchy of the system and create a new translation with different feelings evoked.<\/p>\n

I wonder how these ideas would change for a piece of nonfiction written centuries ago? I believe there would be less freedom in what can be portrayed. However, how would something like an autobiography by, say, Homer, be treated? Compared to the Iliad, I think a nonfiction piece would make greater use of foot- and endnotes and try to avoid free translations.<\/p>\n","protected":false},"excerpt":{"rendered":"

Dante Divina Commedia, Canto V, Translation comparison \u2013 Rogers\/Norton September 25, 2019 \u2013 Anita Hotchkiss I looked at the same translations, and I noticed the same mismatch in lines between … Read More<\/a><\/p>\n","protected":false},"author":576,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-668","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"acf":[],"yoast_head":"\nEsposito - Comments - Italian in Translation<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.rutgers.edu\/italian-translation\/esposito-comments\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Esposito - Comments - Italian in Translation\" \/>\n<meta property=\"og:description\" content=\"Dante Divina Commedia, Canto V, Translation comparison \u2013 Rogers\/Norton September 25, 2019 \u2013 Anita Hotchkiss I looked at the same translations, and I noticed the same mismatch in lines between … Read More\" \/>\n<meta property=\"og:url\" content=\"https:\/\/sites.rutgers.edu\/italian-translation\/esposito-comments\/\" \/>\n<meta property=\"og:site_name\" content=\"Italian in Translation\" \/>\n<meta property=\"article:published_time\" content=\"2019-11-12T02:10:51+00:00\" \/>\n<meta name=\"author\" content=\"Robert M. 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