The Intrusive "I" in Translations of Italian Librettos

The modern aesthetic-linguistic code that governs translations of Italian opera librettos is fundamentally rooted in Romanticism. This code clashes to some extent with the code governing the source texts, where Romantic guiding principles fuse over a solid Petrarchan and Arcadian substratum indebted...

Ausführliche Beschreibung

Bibliographische Detailangaben
Veröffentlicht in:	Comparative Literature Studies. - Pennsylvania State University Press, 1963. - 54(2017), 3, Seite 641-666
1. Verfasser:	Edo, Miquel (VerfasserIn)
Format:	Online-Aufsatz
Sprache:	English
Veröffentlicht:	2017
Zugriff auf das übergeordnete Werk:	Comparative Literature Studies
Schlagworte:	opera librettos contrastive rhetoric Italian literary tradition Romanticism modernity Arts Linguistics Economics Social sciences


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520			\|a The modern aesthetic-linguistic code that governs translations of Italian opera librettos is fundamentally rooted in Romanticism. This code clashes to some extent with the code governing the source texts, where Romantic guiding principles fuse over a solid Petrarchan and Arcadian substratum indebted to the Dolce Stil Novo poetry of the late Middle Ages. This substratum is eroded in many translations, principally through a reinforcement of the first person ("I") at the expense of things (in general) and feelings and vital organs (in particular), which, in the original libretto, are endowed with the capacity to act as independent agents. Accompanying this different epistemic approach to reality and the individual are noteworthy discrepancies in the use of rhetorical devices, marked by: (a) a lesser propensity in translations for circumlocution, personification, and synecdoche; (b) a higher degree of flexibility in Italian in the use of ellipsis; and (c) variatio in original librettos in contrast to uniformity and parallelism in translations.
540			\|a Copyright © 2017 by The Pennsylvania State University. All rights reserved.
650		4	\|a opera librettos
650		4	\|a contrastive rhetoric
650		4	\|a Italian literary tradition
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650		4	\|a Linguistics \|x Applied linguistics \|x Language translation
650		4	\|a Linguistics \|x Grammar \|x Parts of speech \|x Verbs
650		4	\|a Arts \|x Performing arts \|x Music \|x Music theory \|x Music analysis \|x Musical rhetoric
650		4	\|a Arts \|x Performing arts \|x Theater \|x Theater history \|x Theatrical genres \|x Musical theater \|x Opera
650		4	\|a Arts \|x Performing arts \|x Music \|x Musical performance \|x Singing
650		4	\|a Economics \|x Economic disciplines \|x Labor economics \|x Employment \|x Occupations \|x Artists \|x Writers \|x Lyricists \|x Librettists
650		4	\|a Linguistics \|x Grammar \|x Parts of speech \|x Pronouns \|x Personal pronouns
650		4	\|a Social sciences \|x Communications \|x Rhetoric \|x Literary rhetoric
650		4	\|a Linguistics \|x Grammar \|x Parts of speech \|x Adjectives
650		4	\|a Arts \|x Performing arts \|x Theater \|x Stagecraft \|x Scripts \|x Librettos
650		4	\|a Linguistics \|x Applied linguistics \|x Language translation
650		4	\|a Linguistics \|x Grammar \|x Parts of speech \|x Verbs
650		4	\|a Arts \|x Performing arts \|x Music \|x Music theory \|x Music analysis \|x Musical rhetoric
650		4	\|a Arts \|x Performing arts \|x Theater \|x Theater history \|x Theatrical genres \|x Musical theater \|x Opera
650		4	\|a Arts \|x Performing arts \|x Music \|x Musical performance \|x Singing
650		4	\|a Economics \|x Economic disciplines \|x Labor economics \|x Employment \|x Occupations \|x Artists \|x Writers \|x Lyricists \|x Librettists
650		4	\|a Linguistics \|x Grammar \|x Parts of speech \|x Pronouns \|x Personal pronouns
650		4	\|a Social sciences \|x Communications \|x Rhetoric \|x Literary rhetoric
650		4	\|a Linguistics \|x Grammar \|x Parts of speech \|x Adjectives
655		4	\|a research-article
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