Literary Translation Portfolio: A Hymn to Nostalgia - Cecilia Sandre - Trinity College Dublin - TARA tcd ...
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Cecilia Sandre
21345067
Literary Translation Portfolio: A Hymn to Nostalgia
Trinity College Dublin
MPhil in Literary Translation
2022
Supervised by Dr. Peter Sirr1 Wuthering Heights 5
2 Nostalgia 17
3 The Great Gatsby 21
4 Look Back in Anger 30
5 In My Life 36
6 Amarcord 40
7 High Windows 48
Libri che mi hanno rovinato la vita
8 52
e altri amori malinconici
Source texts have been re-formatted so that they align with target texts.Introduction
The concept of nostalgia— understood as a sentimentality for the this emotion on several occasions, worrying that the past would
past— is the common thread that connects the eight pieces of always keep lingering in my present preventing me to live in the
writing I selected for this translation portfolio. While melancholy is moment. It was not until quite recently that I made peace with my
often associated with negativity, and in the past, it was even nostalgic nature, accepting that finding comfort and being fond of
considered to be a malady or a pathology (Hofer 1688, 381), the past memories does not necessarily affect my present experiences.
concept of nostalgia conceals a more positive connotation. Turner As soon as I realized that there are moments in anyone’s lives that
(1987, 150) depicts this wistful feeling as a ‘sensitive and will be richer and happier and more meaningful than the ones that
sympathetic awareness of the human problem as the alienation of have gone before, I started to glance at my past memories with some
self-conscious individuals in the world’, and states that nostalgia and sort of detached affection, which allowed me to be grateful for my
moral virtues often coincide. Some seventeenth-century poetic past experiences, while also being present in the moment. For this
discourses that explore melancholic sentiments portray ‘a tradition reason, I decided to make my transition portfolio a hymn to
which gave special emphasis to the moral value of nostalgia as a nostalgia.
feature of heightened sensibility’ (ibid.).
The texts chose for this portfolio cover a wide variety of genres and
Growing up I was often an easy prey for nostalgia, and I quickly began text types (three novels, two poems, a play, a song and a film script)
to develop a certain horror of it. I found myself trying to suppress and relate to nostalgia in a variety of ways. For instance, one of thelooming themes of Emily Brontë’s Wuthering Heights (and of Bibliography
Chapter l of the novel, which is included in this portfolio) is nostalgia, Hofer, J. Medical Dissertation on Nostalgia by Johannes Hofer, 1688.
intended as a state of homesickness and inability to find a home Trans. Carolyn Kiser Anspach, Bulletin of the Institute of the History
(Quinell 2016, 1), whereas the following text— Nostalgia by the of Medicine, 376-391, p. 381.
Italian poet G. Ungaretti— explores a more positive connotation of Quinnell, J.,T., 2016. The A¬icted Imagination: Nostalgia and
this sentimental longing, conjuring a pleasant memory to escape the Homesickness in the Writing of Emily Brontë., Durham theses,
horrors of the war. Text number four transports the reader to the Durham University, p. 1
English Midlands of the 1950s, setting of J. Osborne’s Look Back in Turner, Bryan S., 1987. A Note on Nostalgia. Theory, Culture &
Anger, and explores a bitterer kind of nostalgia where Jimmy, the Society 4, 147 - 156.
protagonist, longs for an era he has not even lived in. Whereas the
last text— Chapter l and ll of Libri che mi hanno rovinato la vita e altri
amori malinconici— delves into the childhood memories of the
author.
4Student Number 21345067 Text Number 1
Source Text Target Text
Title Wuthering Heights
Year Published 1847 Title Cime Tempestose
Author Emily Brontë
Language English Language Italian
Word Count 1926 Word Count 1934
The ST is the first chapter of Emily Brontë’s Wuthering Heights. The novel was published in 1847 and it centres around the
character of Heathcliff. Heathcliff was adopted by the Earnshaw family and was later reduced to the status of a servant by
his jealous brother Hindley. The novel tells the story of his revenge through the words of Heathcliff’s tenant Lockwood,
Description of Source Text
• understanding of source text the unreliable narrator of the novel. Although Brontë borrowed some elements from both the realist and romantic
• knowledge of genre within
movement and from the Bildungsroman, the novel fits into the Gothic genre (Fusco 2010, 2). The first chapter opens with
source contexts
• situation of source text Mr. Lockwood paying a visit to Mr. Heathcliff, who lives in a remote farmland called ‘Wuthering Heights’. The inhabitants
familiarity with the formal of Wuthering Heights are a strange crowd, including the landlord whose rude manners clash with his gentleman-like
features of a text (language
appearance. Brontë’s writing style is poetic and direct (see line 48 when Lockwood describes the way the wind blows up
variation(s), register, dialect)
(200 words max) on the heights). According to Stevie Davies (1998, 101-102) the novel’s vocabulary, organized around a concise ‘Anglo-
Saxon-derived lexis’, is ‘often latinated and polysyllabic’. ‘The most distinctive feature of Lockwood’s language is its
literariness. It is stilted, pompous, mannered, bookish and riddled with clichés’ (Varghese 2012, 47).
Strategy The audience the TT aims to reach includes educated teenagers and adults interested in classic literature and who can
• identification of translation
appreciate the complexities of the novel’s themes: love, hate and revenge. The book was published in 1847 but it is set at
problems
• knowledge of genre within the turn of the 18th and 19th century, so it also reaches those who are interested to learn more about the depiction of the
target context and situation of
Georgian era in Victorian literature. When translating the text, I will strive to remain as faithful as possible to the ST, trying
target text
5• justification of translation to replicate the author’s elaborate and dramatic use of language while also making the TT accessible to today’s readership.
production of genre for I will consider my translation successful if the reader appreciates the fact that the ST is over two hundred years old without
target context
finding it too difficult to read. To reach my goal, I will have to replace old fashioned terms that the target readership might
(200 words max)
not immediately recognize, into more common words; for instance, in line 66, the term ‘penetralium’ will not be translated
into ‘penetralio’ but into ‘atrio’ (‘atrium’) instead. An extensive use of modulation will also be needed: e.g., ‘I was over
head and ears’ in line 120 will be translated as ‘follemente’.
I presented the TT to two high school students (aged respectively 16 and 18 years old) and two grown adults; according
to my sample audience the translation reached its goal of transporting the reader back to the 19th century while at the
Critical Reflection same time being a smooth and easy read. Crucial was the choice of replacing old fashioned words by more common, yet
• textual analysis
still formal, terms. Preserving Brontë’s syntax was not always possible, but the changes I made benefitted my translation:
(200 words max)
particularly appreciated was the choice to rearrange the order of some sentences to make them more natural to an Italian
readership and the decision to split others that were too intricate and lengthy.
Davies, S. 1998. Emily Brontë. U.K: Northcote House Publishers Ltd, p.101-102
Works Cited Fusco, M. 2010. Wuthering Heights and the influence of literary value. https://ro.ecu.edu.au, p.2.
• use of sources and reference
material Varghese, L. M., 2012. Stylistic Analysis of Emily Brontë’s Wuthering Heights. Journal of Humanities and Social Science
(JHSS). Volume 2, Issue 5 (Sep-Oct. 2012), p. 47.
6Source Text Target Text
Wuthering Heights Cime Tempestose
1801—I have just returned from a visit to my landlord—the solitary 1 1801— Ho appena fatto visita al proprietario della mia casa— il solitario
neighbour that I shall be troubled with. This is certainly a beautiful 2 vicino con cui avrò a che fare. Questo sì che è un bel paese! Non credo
country! In all England, I do not believe that I could have fixed on a 3 avrei potuto trovare un posto così lontano dal trambusto della società in
situation so completely removed from the stir of society. A perfect 4 tutta l’Inghilterra. Il paradiso perfetto per un misantropo. Io e il Sig.
misanthropist’s Heaven—and Mr. Heathcliff and I are such a suitable pair 5 Heathcliff siamo la coppia adatta a spartirsi tale desolazione. Un uomo
to divide the desolation between us. A capital fellow! He little imagined 6 eccellente! Non poté immaginare quanto piacere mi fece vedere i suoi
how my heart warmed towards him when I beheld his black eyes withdraw 7 occhi scuri ritrarsi con diffidenza sotto le sopracciglia e le sue dita
so suspiciously under their brows, as I rode up, and when his fingers 8 rifugiarsi sotto il panciotto, con gelosa risolutezza, al mio avanzare a
sheltered themselves, with a jealous resolution, still further in his 9 cavallo. Fu allora che annunciai il mio nome.
waistcoat, as I announced my name. 10
11
“Mr. Heathcliff?” I said. 12 “Il Sig. Heathcliff?” chiesi.
13
A nod was the answer. 14 Un cenno del capo fu la risposta.
15
“Mr. Lockwood, your new tenant, sir. I do myself the honour of calling as 16 “Il Sig. Lockwood, il vostro nuovo affittuario, signore. Sono onorato di
soon as possible after my arrival, to express the hope that I have not 17 presentarmi a voi il prima possibile, subito dopo il mio arrivo. Spero la mia
inconvenienced you by my perseverance in soliciting the occupation of 18 insistenza nel voler abitare a Thrushcross Grange non vi abbia infastidito.
Thrushcross Grange: I heard yesterday you had had some thoughts—” 19 Ieri ho sentito che stavate pensando di—”
20
7“Thrushcross Grange is my own, sir,” he interrupted, wincing. “I should 21 “Thrushcross Grange è di mia proprietà, signore,” mi interruppe
not allow any one to inconvenience me, if I could hinder it—walk in!” 22 severamente. “Non potrei permettere a nessuno di infastidirmi, poiché
23 sta a me impedirlo. Entrate!”
24
The “walk in” was uttered with closed teeth, and expressed the sentiment, 25 “Entrate” fu pronunciato a denti stretti come se in realtà intendesse “Se
“Go to the Deuce!” even the gate over which he leant manifested no 26 ne vada al Diavolo!”. Perfino il cancello a cui si appoggiava, e che non
sympathising movement to the words; and I think that circumstance 27 accennava movimento alcuno, cozzava con le sue parole; e credo fu
determined me to accept the invitation: I felt interested in a man who 28 proprio tale circostanza a convincermi ad accettare l’invito: a scatenare il
seemed more exaggeratedly reserved than myself. 29 mio interesse fu l’esagerata riservatezza di quell’uomo, che superava
30 perfino la mia.
31
When he saw my horse’s breast fairly pushing the barrier, he did put out 32 Solo quando vide il petto del mio cavallo spingere contro il cancello, liberò
his hand to unchain it, and then sullenly preceded me up the causeway, 33 la mano da sotto il panciotto e slegò la catena, poi di malavoglia mi
calling, as we entered the court,—“Joseph, take Mr. Lockwood’s horse; 34 precedette lungo il vialetto. Attraversando il cortile esclamò “Joseph,
and bring up some wine.” 35 prendi il cavallo del Sig. Lockwood, e portaci del vino.”
36
“Here we have the whole establishment of domestics, I suppose,” was the 37 “Suppongo sia l’intera equipe di servitori” fu la riflessione suggerita da
reflection suggested by this compound order. “No wonder the grass grows 38 quell’ordine. “Non mi sorprende affatto che l’erba cresca tra i ciottoli e
up between the flags, and cattle are the only hedge-cutters.” 39 che a tagliare le siepi ci pensi il bestiame”
40
Joseph was an elderly, nay, an old man, very old, perhaps, though hale and 41 Joseph era un uomo attempato, no, era un uomo vecchio, forse molto
sinewy. “The Lord help us!” he soliloquised in an undertone of peevish 42 vecchio, ma comunque arzillo e vigoroso. “Che il Signore ci aiuti!”
8displeasure, while relieving me of my horse: looking, meantime, in my face 43 sussurrò tra sé e sé stizzito mentre prendeva il mio cavallo guardandomi
so sourly that I charitably conjectured he must have need of divine aid to 44 con un viso tanto arcigno da farmi supporre che ci sarebbe voluto un
digest his dinner, and his pious ejaculation had no reference to my 45 miracolo per fargli digerire la cena e che la sua pia esclamazione non
unexpected advent. 46 avesse niente a che fare con la mia visita inaspettata.
47
Wuthering Heights is the name of Mr. Heathcliff’s dwelling. “Wuthering” 48 La residenza del Sig. Heathcliff si chiamava Cime Tempestose.
being a significant provincial adjective, descriptive of the atmospheric 49 “Tempestoso” era un aggettivo perfetto per descrivere quella provincia e
tumult to which its station is exposed in stormy weather. Pure, bracing 50 le turbolenze atmosferiche alla quale è soggetta durante i temporali.
ventilation they must have up there at all times, indeed: one may guess 51 Sicuramente lassù il vento è forte e l’aria è fresca. Ci si può immaginare
the power of the north wind, blowing over the edge, by the excessive slant 52 con che potenza il vento del nord soffi e si incanali tra le pendenze dei
of a few stunted firs at the end of the house; and by a range of gaunt 53 pochi abeti spogli confinanti con la residenza, e tra le braccia dei rovi
thorns all stretching their limbs one way, as if craving alms of the sun. 54 secchi che si allungano tutte nella stessa direzione, quasi a implorare
Happily, the architect had foresight to build it strong: the narrow windows 55 l’elemosina del sole. Fortunatamente, l’architetto costruì una casa solida:
are deeply set in the wall, and the corners defended with large jutting 56 le strette finestre erano ben incastrate e difese da grosse pietre sporgenti.
stones. 57
58
Before passing the threshold, I paused to admire a quantity of grotesque 59 Prima di varcare la soglia, mi fermai ad ammirare l’enorme quantità di
carving lavished over the front, and especially about the principal door; 60 sfarzose incisioni sul portone principale e sopra il quale grifoni fatiscenti
above which, among a wilderness of crumbling griffins and shameless little 61 e putti nudi facevano sfoggio. In mezzo a questo grottesco scialo notai la
boys, I detected the date “1500,” and the name “Hareton Earnshaw.” I 62 data “1500” e il nome di “Hareton Earnshaw”. Avrei volentieri fatto alcuni
would have made a few comments, and requested a short history of the 63 commenti, e chiesto allo scontroso proprietario un breve aneddoto del
place from the surly owner; but his attitude at the door appeared to 64 posto; ma il suo atteggiamento alla porta esigeva un’entrata solerte, o
9demand my speedy entrance, or complete departure, and I had no desire 65 una partenza definitiva, e non avevo desiderio alcuno ad alimentare la sua
to aggravate his impatience previous to inspecting the penetralium. 66 impazienza ancor prima di aver esplorato l’atrio.
67
One step brought us into the family sitting-room, without any 68 Non essendovi né anticamere né corridoi, bastò un passo per arrivare alle
introductory lobby or passage: they call it here “the house” pre-eminently. 69 stanze di famiglia, a cui si faceva riferimento con il nome di “la casa”.
It includes kitchen and parlour, generally; but I believe at Wuthering 70 Generalmente questo tipo di alloggio comprende una cucina e un salotto,
Heights the kitchen is forced to retreat altogether into another quarter: at 71 ma credo che a Cime Tempestose, la cucina fosse stata relegata altrove:
least I distinguished a chatter of tongues, and a clatter of culinary utensils, 72 o almeno giunsi a questa conclusione dopo aver udito il lontano
deep within; and I observed no signs of roasting, boiling, or baking, about 73 chiacchiericcio dei servitori e il rumore metallico degli utensili da cucina.
the huge fireplace; nor any glitter of copper saucepans and tin cullenders 74 Era inoltre chiaro che sull’enorme camino non vi era mai stato cucinato
on the walls. One end, indeed, reflected splendidly both light and heat 75 né un arrosto né un bollito, e sulle pareti non vi era alcuna traccia di
from ranks of immense pewter dishes, interspersed with silver jugs and 76 casseruole di rame o barattoli di latta. Da una delle pareti, in realtà, la
tankards, towering row after row, on a vast oak dresser, to the very roof. 77 luce e il calore rimbalzavano su pile di grossi piatti di peltro a cui si
The latter had never been under-drawn: its entire anatomy lay bare to an 78 alternavano torreggianti anfore e boccali d’argento poggiati su un’ampia
inquiring eye, except where a frame of wood laden with oatcakes and 79 credenza di quercia alta fino al soffitto. Quest’ultima parete non era mai
clusters of legs of beef, mutton, and ham, concealed it. Above the chimney 80 stata terminata: un qualsiasi sguardo inquisitorio avrebbe potuto
were sundry villainous old guns, and a couple of horse-pistols: and, by way 81 scorgerne l’intera anatomia se non fosse stato per la struttura di legno
of ornament, three gaudily painted canisters disposed along its ledge. The 82 che sorreggeva focacce d’avena, prosciutti, e cosciotti di manzo e
floor was of smooth, white stone; the chairs, high-backed, primitive 83 montone. Da sopra il camino faceva capolino un assortimento di vecchi
structures, painted green: one or two heavy black ones lurking in the 84 fucili, un paio di pistole e tre pacchiani barattoli che decoravano la
shade. In an arch under the dresser reposed a huge, liver-coloured bitch 85 mensola. Il pavimento era di una pietra bianca e levigata; le sedie,
86 dall’alto schienale e la rozza struttura, erano dipinte di verde, con
10pointer, surrounded by a swarm of squealing puppies; and other dogs 87 l’eccezione di una o due confinate nell’ombra: nere e pesanti. Nell’arco
haunted other recesses. 88 sotto la credenza, riposava una pointer inglese color marrone circondata
89 da dei cuccioli mugolanti. Altri cani occupavano altre nicchie.
90
The apartment and furniture would have been nothing extraordinary as 91 L’alloggio e il mobilio non avrebbero destato alcuno stupore se di
belonging to a homely, northern farmer, with a stubborn countenance, 92 proprietà di un rozzo contadino del nord con lo sguardo caparbio e le
and stalwart limbs set out to advantage in knee-breeches and gaiters. 93 gambe robuste, messe in evidenza da un paio di calzoncini corti sopra il
Such an individual seated in his arm-chair, his mug of ale frothing on the 94 ginocchio e delle ghette. Un personaggio del genere, seduto nella sua
round table before him, is to be seen in any circuit of five or six miles 95 poltrona e con un boccale di birra spumeggiante appoggiato sul tavolo
among these hills, if you go at the right time after dinner. But Mr. 96 rotondo davanti a lui, lo si potrebbe tranquillamente vedere tra queste
Heathcliff forms a singular contrast to his abode and style of living. He is a 97 colline purché si capiti al momento giusto, dopo la cena. Ma l’immagine
dark-skinned gipsy in aspect, in dress and manners a gentleman: that is, 98 del Sig. Heathcliff stride con la sua dimora e il suo stile di vita: l’aspetto è
as much a gentleman as many a country squire: rather slovenly, perhaps, 99 quello di uno zingaro dalla pelle scura, ma abbigliamento e portamento
yet not looking amiss with his negligence, because he has an erect and 100 sono quelli di un gentiluomo. Un gentiluomo come lo può essere un
handsome figure; and rather morose. Possibly, some people might 101 signorotto di campagna: magari un po’ sciatto, ma la sua bella presenza
suspect him of a degree of under-bred pride; I have a sympathetic chord 102 fa sì che tale incuria non gli crei svantaggio. Può darsi che qualcuno incolpi
within that tells me it is nothing of the sort: I know, by instinct, his reserve 103 tale tracotanza alle sue umili origini. Ma una nota di simpatia dentro di
springs from an aversion to showy displays of feeling—to manifestations 104 me mi suggerisce che non si tratti di niente del genere. Per istinto
of mutual kindliness. He’ll love and hate equally under cover, and esteem 105 riconosco che la sua riservatezza nasce da un’avversione contro ogni tipo
it a species of impertinence to be loved or hated again. No, I’m running on 106 di trasporto emotivo o manifestazione di gentilezza reciproca. Egli ama e
too fast: I bestow my own attributes over-liberally on him. Mr. Heathcliff 107 odia in modo eguale e considera impudente l’amore o l’odio altrui. No,
may have entirely dissimilar reasons for keeping his hand out of the way 108 sto correndo troppo: e gli sto troppo liberamente assegnando
11when he meets a would-be acquaintance, to those which actuate me. Let 109 caratteristiche che mi appartengono. Il Sig. Heathcliff può disporre di
me hope my constitution is almost peculiar: my dear mother used to say I 110 ragioni completamente diverse per non avere mai una mano libera
should never have a comfortable home; and only last summer I proved 111 quando incontra un conoscente come me. Preferisco sperare che questa
myself perfectly unworthy of one. 112 mia natura mi distingua. La mia adorata madre era solita ribadire non
113 avrei mai trovato una dimora confortevole, e solo la scorsa estate me ne
114 sono dimostrato indegno.
115
While enjoying a month of fine weather at the sea-coast, I was thrown into 116 Mentre mi godevo un mese di bel tempo lungo la costa, mi trovai in
the company of a most fascinating creature: a real goddess in my eyes, as 117 compagnia di una fanciulla assai affascinante: una vera dea ai miei occhi,
long as she took no notice of me. I “never told my love” vocally; still, if 118 finché questa non si accorse di me. Anche se non rivelai il mio amore
looks have language, the merest idiot might have guessed I was over head 119 verbalmente, ed è vero che anche gli occhi possono parlare, anche il più
and ears: she understood me at last, and looked a return—the sweetest 120 scemo tra gli imbecilli avrebbe capito che ne ero follemente innamorato.
of all imaginable looks. And what did I do? I confess it with shame—shrunk 121 Alla fine lei lo capì, e rispose con il più dolce degli sguardi. Ed io che feci?
icily into myself, like a snail; at every glance retired colder and farther; till 122 Lo confesso con vergogna: mi ritrassi freddamente come una tartaruga
finally the poor innocent was led to doubt her own senses, and, 123 nel suo guscio. Ad ogni sguardo mi facevo più freddo e più lontano, finché
overwhelmed with confusion at her supposed mistake, persuaded her 124 la povera innocente iniziò a dubitare di sé stessa, e, sopraffatta dalla
mamma to decamp. By this curious turn of disposition I have gained the 125 confusione per il supposto errore, convinse la madre a partire. Per questa
reputation of deliberate heartlessness; how undeserved, I alone can 126 mia curiosa inclinazione, mi sono guadagnato una fama da cinico; che io
appreciate. 127 solo posso reputare ingiusta.
128
I took a seat at the end of the hearthstone opposite that towards which 129 Mi sedetti all’estremità del camino, posto di fronte alla direzione verso
my landlord advanced, and filled up an interval of silence by attempting 130 cui il padrone di casa avanzava, e cercai di riempire il silenzio tentando di
12to caress the canine mother, who had left her nursery, and was sneaking 131 accarezzare la cagna che si era allontanata dai suoi cuccioli e che con fare
wolfishly to the back of my legs, her lip curled up, and her white teeth 132 da lupa si era intrufolata tra le mie gambe con il labbro arricciato e le
watering for a snatch. My caress provoked a long, guttural gnarl. 133 zanne bianche e schiumose pronte a mordere. La mia carezza suscitò un
134 lungo ringhio gutturale.
135
“You’d better let the dog alone,” growled Mr. Heathcliff in unison, 136 “Le conviene lasciarla in pace,” ruggì il Sig. Heathcliff mentre con una
checking fiercer demonstrations with a punch of his foot. “She’s not 137 pedata si assicurò che la situazione non degenerasse. “Non è abituata a
accustomed to be spoiled—not kept for a pet.” Then, striding to a side 138 farsi coccolare, non è un animale domestico.” Poi, avanzando a grandi
door, he shouted again, “Joseph!”. 139 passi verso una porta a lato della stanza, gridò ancora, “Joseph!”.
140
Joseph mumbled indistinctly in the depths of the cellar, but gave no 141 Joseph borbottò indistintamente nelle profondità della cantina senza
intimation of ascending; so his master dived down to him, leaving me vis- 142 dare alcun segno di voler salire; così il padrone si precipitò giù lasciandomi
à-vis the ruffianly bitch and a pair of grim shaggy sheep-dogs, who shared 143 faccia a faccia con quella bestiaccia e due feroci cani da pastore dal pelo
with her a jealous guardianship over all my movements. Not anxious to 144 ispido che da quel momento monitorarono avidamente ogni mio
come in contact with their fangs, I sat still; but, imagining they would 145 movimento. Non particolarmente intrigato dall’idea di venire a contatto
scarcely understand tacit insults, I unfortunately indulged in winking and 146 con le loro zanne, sedetti immobile. Ma immaginando avrebbero
making faces at the trio, and some turn of my physiognomy so irritated 147 compreso a stento un tacito insulto, ebbi l’infelice idea di lanciare
madam, that she suddenly broke into a fury and leapt on my knees. I flung 148 occhiatacce e smorfie a quel trio. Una di queste irritò la signora, la cui
her back, and hastened to interpose the table between us. This 149 furia esplose e balzò sulle mie ginocchia. La respinsi a terra affrettandomi
proceeding aroused the whole hive: half-a-dozen four-footed fiends, of 150 a sistemare tra di noi il tavolo così che ci dividesse, ma la concatenazione
various sizes and ages, issued from hidden dens to the common centre. I 151 di questi eventi svegliò il resto del branco: una mezza dozzina di perfidi
felt my heels and coat-laps peculiar subjects of assault; and parrying off 152 quadrupedi (di varia taglia e diverse età) emerse dal nulla e si riversò al
13the larger combatants as effectually as I could with the poker, I was 153 centro della stanza. Talloni e lembi della giacca erano il preferito oggetto
constrained to demand, aloud, assistance from some of the household in 154 d’assalto. Tentai di difendermi dai combattenti più feroci come meglio
re-establishing peace. 155 potevo con l’attizzatoio, ma infine fui costretto a domandare aiuto a gran
156 voce ai domestici per ristabilire l'ordine.
157
Mr. Heathcliff and his man climbed the cellar steps with vexatious phlegm: 158 Il Sig. Heathcliff e il suo servo salirono i gradini della cantina con una
I don’t think they moved one second faster than usual, though the hearth 159 flemma seccante: non credo si siano adoperati per affrettare il passo
was an absolute tempest of worrying and yelping. Happily, an inhabitant 160 anche se nella stanza si stava abbattendo una tempesta di ringhi e guaiti.
of the kitchen made more dispatch; a lusty dame, with tucked-up gown, 161 Fortunatamente, dalla cucina, una dama vigorosa accorse in mio aiuto, e
bare arms, and fire-flushed cheeks, rushed into the midst of us flourishing 162 con l’abito rialzato, le braccia nude e le guance arrossate dal fuoco, si
a frying-pan: and used that weapon, and her tongue, to such purpose, that 163 precipitò in mezzo a noi brandendo una padella. Così, la tempesta si placò
the storm subsided magically, and she only remained, heaving like a sea 164 quasi per magia grazie all’uso della lingua e di quell’ arma insolita. Lei
after a high wind, when her master entered on the scene. 165 oscillava come le onde del mare all’imperversare del vento, quando il
166 padrone di casa ci raggiunse.
167
“What the devil is the matter?” he asked, eyeing me in a manner that I 168 “Che diavolo sta succedendo?” indagò lanciandomi uno sguardo che non
could ill endure after this inhospitable treatment. 169 potei più sopportare dopo un tale trattamento.
170
“What the devil, indeed!” I muttered. “The herd of possessed swine could 171 “Che diavolo lo dico io” brontolai. “Una mandria di porci posseduti non
have had no worse spirits in them than those animals of yours, sir. You 172 potrebbe competere con gli spiriti maligni dei vostri animali, signore.
might as well leave a stranger with a brood of tigers!” 173 State lasciando un uomo in mezzo a un branco di tigri!”
174
14“They won’t meddle with persons who touch nothing,” he remarked, 175 “Non si impicciano con chi nulla tocca,” ribattè, appoggiando la bottiglia
putting the bottle before me, and restoring the displaced table. “The dogs 176 di fronte a me e rimettendo il tavolo al suo posto. “È giusto che i cani
do right to be vigilant. Take a glass of wine?” 177 stiano all’erta. Desiderate un bicchiere di vino?”
178
“No, thank you.” 179 “No, grazie.”
180
“Not bitten, are you?” 181 “Non vi hanno morso, vero?”
182
“If I had been, I would have set my signet on the biter.” Heathcliff’s 183 “Se fossi stato morso, avrei lasciato l’impronta del mio sigillo sul
countenance relaxed into a grin. 184 responsabile.” Il viso di Heathcliff si rilassò in un ghigno.
185
“Come, come,” he said, “you are flurried, Mr. Lockwood. Here, take a little 186 “Suvvia”, disse, “vi siete agitato, Sig. Lockwood. Insisto, prendete un po’
wine. Guests are so exceedingly rare in this house that I and my dogs, I am 187 di vino. Ammetto che gli ospiti sono talmente rari in questa casa che io e
willing to own, hardly know how to receive them. Your health, sir?” 188 i miei cani a malapena sappiamo riceverli. Alla vostra, signore?”
189
I bowed and returned the pledge; beginning to perceive that it would be 190 Mi inchinai e ricambiai l’augurio. Mi accorsi che sarebbe stato sciocco
foolish to sit sulking for the misbehaviour of a pack of curs; besides, I felt 191 tenere il broncio per le malagrazie di quel branco di bastardi; inoltre, dato
loth to yield the fellow further amusement at my expense; since his 192 che questa era la piega che aveva preso il suo umore, non ero disposto
humour took that turn. He—probably swayed by prudential consideration 193 che quel tale se la ridesse a mie spese ulteriormente. Probabilmente
of the folly of offending a good tenant—relaxed a little in the laconic style 194 preso dalla folle considerazione di arrecare danno a un brav’inquilino,
of chipping off his pronouns and auxiliary verbs, and introduced what he 195 mise da parte il suo stile laconico e introdusse un argomento che
supposed would be a subject of interest to me,—a discourse on the 196 supponeva interessante per me; un discorso sui vantaggi e gli svantaggi
15advantages and disadvantages of my present place of retirement. I found 197 della mia attuale dimora appartata. Considerai molto intelligente il modo
him very intelligent on the topics we touched; and before I went home, I 198 in cui trattava i temi discussi, e, prima di ritornare a casa mi sentii
was encouraged so far as to volunteer another visit to-morrow. He 199 incoraggiato a proporgli un’altra visita l’indomani. Egli non aveva alcuna
evidently wished no repetition of my intrusion. I shall go, notwithstanding. 200 intenzione che tale intrusione si ripetesse, ciononostante ritornerò. Trovo
It is astonishing how sociable I feel myself compared with him. 201 sbalorditivo quanto socievole mi senta a confronto.
16Student Number 21345067 Text Number 2
Source Text Target Text
Title Nostalgia
Year Published 1916 Title Nostalgia
Author G. Ungaretti
Language Italian Language English
Word Count 46 Word Count 49
The ST is a poem by Giuseppe Ungaretti, one of the most influential Italian hermetic poets. It was written in 1916 in
Lokoveč, a settlement that belonged to the Karst front, where the poet fought in the trenches during the First World War.
Description of Source Text Critics defined the poems belonging to the hermetic movement as difficult to read and interpret because of features like
• understanding of source text
• knowledge of genre within the abolition of punctuation, unconventional rhythmic and verse structures, and existentialist themes (Roppo 2018, 3).
source contexts The poem describes a pleasant memory that serves as an escape to the horrors of the war. The structure is discursive, and
• situation of source text
the lexicon features both commonly used words and more formal terms (i.e., ‘s’addensa’, ‘contemplo’). Similes,
familiarity with the formal
features of a text (language oxymorons, hyperboles and enjambments are the figures of speech present in the text. The poem is made up of five
variation(s), register, dialect) stanzas. The first and second stanza introduce the setting of the poem: Paris, early morning. The winter is coming to an
(200 words max)
end but the presence of a thick mist makes the sky look dark and gloomy. Then, the focus shifts to a thin and quiet girl,
whose calming and soothing effect clashes with the tense and destructive atmosphere of the war.
Strategy The TT will be published on ‘Delos: an international journal of translations aimed at English-language readers’. The journal
• identification of translation
problems
is published twice a year by the University of Florida Press. The target audience it aims to reach is attendees of University
• knowledge of genre within of Florida who are interested in the craft of translation of international literary works. The Head of the editorial board,
target context and situation of
target text
Mr. Benjamin Hebblethwaite, commissioned me the translation of the poem instructing me to remain as faithful as
• justification of translation possible to the ST. So, in order to satisfy his request, I will maintain the structure, the genre, the register, and the tone of
17production of genre for the ST. To reproduce the same poetic ambiance, I will reproduce the syllabic structure of the poem and the figures of
target context
speech the author adopted. For instance, the simile and the oxymoron in verses 18 and 19 will be translated as: ‘And as if
(200 words max)
carried elsewhere/ there we remain’. The same applies for the extensive use of enjambments the author made throughout
the entirety of the ST and that will be replicated in the TT.
Poetry has been widely considered the thorniest among literary genres to translate because of linguistic, aesthetic and
cultural issues (Hariyanto 2003). If on the one hand the text does not present any culture bound elements, on the other it
is very particular to the movement it belongs to: the hermetic movement. In hermetic poems, the search for meaning is
hindered by aporias, signifying that meaning lies in what remains unsaid. So, the main challenges I faced in the translation
Critical Reflection of the present poem were mostly related to the understanding of the poem itself. To produce a faithful translation, I had
• textual analysis
to carry out some research on the hermetic movement and on the author’s life. Failing to do so would have resulted in
(200 words max)
me having a lack of understanding of some of the references mentioned in the ST. Additionally, one must remember that
poems use words to evoke emotions in a dramatic and imaginative way. Which means that often the words poets employ
must be interpreted. For instance, when Ungaretti writes ‘le nostre malattie si fondono’, he is not using the term ‘malattie’
in the sense of illnesses, but to convey that the misfortunes of the characters, in that moment, come together.
Hariyanto, S., 2003. Problems in Translating Poetry.
Works Cited
• use of sources and reference Roppo, A., 2018. Letteratura Come Vita: An Exploration of Italian Hermetic Poetry and the Power of the Poetic Word.
material
Department of Romance Languages and the Robert D. Clark Honors College. p.3.
18Source Text Target Text
Nostalgia Nostalgia
Quando 1 When
la notte è a svanire 2 the night’s about to fade
poco prima di primavera 3 shortly before spring
e di rado 4 and people
qualcuno passa 5 seldom pass
6
Su Parigi s'addensa 7 A weeping
un oscuro colore 8 dark mist
di pianto 9 thickens over Paris
10
In un canto 11 In the corner
di ponte 12 of a bridge
contemplo 13 I observe
l'illimitato silenzio 14 the boundless silence
di una ragazza 15 of a frail
tenue 16 girl
17
Le nostre 18 Our
malattie 19 misfortunes
si fondono 20 merge
1921
E come portati via 22 And as if carried elsewhere
si rimane. 23 there we remain.
20Student Number 21345067 Text Number 3
Source Text Target Text
Title The Great Gatsby
Year Published 1925 Title Il Grande Gatsby
Author F.S. Fitzgerald
Language English Language Italian
Word Count 976 Word Count 943
The ST is an extract taken from Chapter V of F.S. Fitzgerald’s The Great Gatsby. The novel belongs to a variety of genres
including tragedy, realism, and modernist literature (Alberts 2020). In the extract, one of the main themes of the novel,
Description of Source Text Gatsby’s dream of Daisy, is introduced. Nick, Gatsby and Daisy have moved from Nick’s house to Gatsby’s mansion where
• understanding of source text
• knowledge of genre within he displays his newly acquired wealth to impress Daisy. As the chapter comes to an end, Nick reads into a look on Gatsby’s
source contexts face and points out that perhaps Daisy will not live up to Gatsby’s expectations of her because he has spent the past five
• situation of source text
years dreaming and loving an idealized version of her. Nick is the first-person narrator of the novel. Critics’ opinions on his
familiarity with the formal
features of a text (language reliability as a narrator divide into two broad groups. Some believe Nick to be an honest narrator, whereas a small number
variation(s), register, dialect) of critics hold his narration as unreliable. (Hanzo 1956). The language is very descriptive, and the novel is replete with
(200 words max)
imagery (Hasan and Sulieman 2018). Rhetorical devices also contribute to the text’s evocative mood. The tone shifts
throughout the book. However, in the present extract, it lingers between disillusionment and sympathy.
Strategy Because the Great Gatsby provides insight on themes like social class and wealth and encourages its readership to look at
• identification of translation
problems
the world through a critical lens and to question social norms, it is often taught to high school students (Brown 2013, 8).
• knowledge of genre within The target audience the TT aims to reach is Italian students (aged 16-18) who will be reading this excerpt in class and will
target context and situation of
target text
conduct a close textual analysis. It is in my interest to carry out a faithful translation that reproduces the same meaning,
• justification of translation tone and register of the ST. I will also strive to reproduce the rhythm of the popular foxtrot ‘Ain’t We Got Fun’ featured in
21production of genre for line 71-73 and 81-84. In line 4, when the author mentions the Sound for the first time, I will translate it as ‘lo stretto di
target context
Long Island’ adopting explicitation as a technique to specify where the events take place. In fact, a literal translation would
(200 words max)
leave my target readership confused, especially if they are reading this passage for the first time and do not know where
the novel is set. Finally, I will keep the references pertaining to the culture of the ST and adopt a foreignizing approach for
some words like for instance ‘pompadour’ in line 27, since it is one that both languages have borrowed from the French.
I consider the strategy successful in achieving my goal. The final translation product is in fact faithful to the ST and it
replicates the author’s tone and register, lending itself well for educational purposes. The translation of the song also
Critical Reflection
• textual analysis turned out to be successful since it reproduced the original rhythm of the song. On the other hand, the most difficult part
(200 words max) of the translation was the author’s description of Ewing’s duck trousers: in line 50, ‘a nebulous hue’ was translated as ‘una
tonalità indefinita’. Although the translated phrase conveys the same meaning as the ST, it is not as striking as the ST.
Alberts, D., 2020. What genre is The Great Gatsby? eNotes Editorial, https://www.enotes.com/homework-help/what-
genre-is-the-great-gatsby-2398641.
Works Cited Brown, J., 2013. Teaching The Great Gatsby: Challenging Canonicity. Honors Projects, p.8.
• use of sources and reference
material A.M. Hasan Ismael and M.F. Sulieman Samardali. Symbolism in the Great Gatsby. Al-Balqa' Applied University, Al-Salt,
Jordan Al-Salt College for Human Sciences. Journal of Literature, Languages and Linguistics, 2018.
T.A. Hanzo. The Theme and the Narrator of" The Great Gatsby". Modern Fiction Studies, 1956.
22Source Text Target Text
The Great Gatsby Il Grande Gatsby
After the house, we were to see the grounds and the swimming pool, and 1 Dopo aver visto la casa avremmo dovuto visitare il parco, la piscina,
the hydroplane, and the midsummer flowers—but outside Gatsby’s 2 l’idrovolante e i fiori di mezza estate ma fuori dalla finestra di Gatsby
window it began to rain again, so we stood in a row looking at the 3 ricominciò a piovere e così rimanemmo in fila a osservare la superficie
corrugated surface of the Sound. 4 ondulata dello stretto di Long Island.
“If it wasn’t for the mist we could see your home across the bay,” said 5 “Se non fosse per la nebbia potremmo vedere casa tua al di là della baia,”
Gatsby. “You always have a green light that burns all night at the end of 6 disse Gatsby. “C’è sempre una luce verde che brilla tutta la notte alla fine
your dock.” 7 del tuo pontile.”
Daisy put her arm through his abruptly, but he seemed absorbed in what 8 D’un tratto Daisy infilò il braccio attraverso quello di lui, ma Gatsby parve
he had just said. Possibly it had occurred to him that the colossal 9 ancora assorto da ciò che aveva appena detto. Forse aveva realizzato che
significance of that light had now vanished forever. Compared to the great 10 l’enorme significato che lui aveva attribuito a quella luce, era ora svanito
distance that had separated him from Daisy it had seemed very near to 11 per sempre. La luce gli era parsa tanto vicina da poterla sfiorare
her, almost touching her. It had seemed as close as a star to the moon. 12 specialmente se messa a confronto con la grande distanza che lo prima lo
Now it was again a green light on a dock. His count of enchanted objects 13 separava da Daisy. Vicina come una stella alla Luna. Ma ora non era altro
had diminished by one. 14 che una luce verde su un pontile, e nella sua lista di oggetti incantati ora
15 ne mancava uno all’appello.
I began to walk about the room, examining various indefinite objects in 16 Cominciai a camminare su e giù per la stanza, analizzando vari oggetti
the half darkness. A large photograph of an elderly man in yachting 17 indefiniti nella penombra. Attirò la mia attenzione, una grande fotografia
costume attracted me, hung on the wall over his desk. 18 di un uomo anziano in tenuta da yacht, appesa nella parete dietro la sua
“Who’s this?” 19 scrivania.
“That? That’s Mr. Dan Cody, old sport.” 20 “Chi è questo?”
23The name sounded faintly familiar. 21 “Quello? Quello è il Sig. Dan Cody, vecchio mio.”
“He’s dead now. He used to be my best friend years ago.” 22 Il nome suonò vagamente familiare.
23 “È morto. Era il mio migliore amico, anni fa.”
There was a small picture of Gatsby, also in yachting costume, on the 24 Sullo scrittoio, c’era una piccola fotografia di Gatsby, anche lui in tenuta
bureau—Gatsby with his head thrown back defiantly—taken apparently 25 da yacht e con il capo inclinato all’indietro con aria insolente,
when he was about eighteen. 26 presumibilmente scattata quando aveva circa diciott’anni.
“I adore it,” exclaimed Daisy. “The pompadour! You never told me you had 27 “La adoro,” esclamò Daisy. “Non mi hai mai raccontato della tua
a pompadour—or a yacht.” 28 pettinatura alla pompadour! Tanto meno dello yacht.”
“Look at this,” said Gatsby quickly. “Here’s a lot of clippings—about you.” 29 “Guarda qui,” disse Gatsby tagliando corto. “Ci sono un sacco di ritagli. Su
30 di te.”
They stood side by side examining it. I was going to ask to see the rubies 31 Stettero l’una a fianco all’altro ad esaminarli. Stavo per chiedere di vedere
when the phone rang, and Gatsby took up the receiver. 32 i rubini quando il telefonò squillò e Gatsby sollevò la cornetta.
“Yes… Well, I can’t talk now… I can’t talk now, old sport… I said a small 33 “Sì… Beh, non posso parlare adesso… non posso parlare ora, vecchio
town… He must know what a small town is… Well, he’s no use to us if 34 mio… Ho detto una città piccola… Dovrà pur sapere cos’è una città
Detroit is his idea of a small town…” 35 piccola… Beh, non c’è molto utile se la sua idea di città piccola corrisponde
36 a Detroit…”
He rang off. 37 Riagganciò.
“Come here quick!” cried Daisy at the window. 38 “Correte qui!” urlò Daisy alla finestra.
The rain was still falling, but the darkness had parted in the west, and 39 La pioggia continuava a cadere ma ad ovest il cielo si era schiarito e sopra
there was a pink and golden billow of foamy clouds above the sea. 40 il mare si faceva strada un cumulo di nuvole rosee e dorate.
“Look at that,” she whispered, and then after a moment: “I’d like to just 41 “Guarda,” sussurrò e poco dopo aggiunse: “Vorrei prendere una di quelle
get one of those pink clouds and put you in it and push you around.” 42 nuvole rosa per poterti infilare dentro e portarti in giro.”
24I tried to go then, but they wouldn’t hear of it; perhaps my presence made 43 Tentai di andarmene ma non ne vollero sapere; forse la mia presenza li
them feel more satisfactorily alone. 44 faceva sentire sufficientemente soli
“I know what we’ll do,” said Gatsby, “we’ll have Klipspringer play the 45 “So che faremo,” disse Gatsby, “diremo a Klipspringer di suonare il piano.”
piano.” 46 Uscì dalla stanza chiamando “Ewing!” e ritornò nel giro di pochi minuti
He went out of the room calling “Ewing!” and returned in a few minutes 47 accompagnato da un gracile giovanotto imbarazzato con degli occhiali
accompanied by an embarrassed, slightly worn young man, with shell- 48 dalla montatura a tartaruga e dei radi capelli biondi. Era vestito
rimmed glasses and scanty blond hair. He was now decently clothed in a 49 decentemente, indossava una polo aperta sul collo, delle scarpe da
“sport shirt,” open at the neck, sneakers, and duck trousers of a nebulous 50 ginnastica e dei pantaloni di tela dalla tonalità indefinita.
hue. 51 “Abbiamo interrotto i tuoi esercizi?” chiese Daisy educatamente.
“Did we interrupt your exercise?” inquired Daisy politely. 52 “Stavo dormendo,” esclamò il Sig. Klipspringer in uno spasmo di
“I was asleep,” cried Mr. Klipspringer, in a spasm of embarrassment. “That 53 imbarazzo. “O meglio, stavo dormendo. Poi mi sono alzato…”
is, I’d been asleep. Then I got up…” 54 “Klipspringer sa suonare il piano,” tagliò corto Gatsby. “Non è vero, Ewing,
“Klipspringer plays the piano,” said Gatsby, cutting him off. “Don’t you, 55 vecchio mio?”
Ewing, old sport?” 56 “Non so suonare molto bene. So suonare a malapena a dirla tutta. È tanto
“I don’t play well. I don’t—hardly play at all. I’m all out of prac—” 57 che non mi eserci—"
“We’ll go downstairs,” interrupted Gatsby. He flipped a switch. The grey 58 “Andiamo di sotto,” lo interruppe Gatsby. Premette l’interruttore e le
windows disappeared as the house glowed full of light. 59 finestre grigie sparirono mentre la casa si riempiva di luce. Nella sala della
In the music-room Gatsby turned on a solitary lamp beside the piano. He 60 musica, Gatsby illuminò una lampada vicina al piano. Con un fiammifero
lit Daisy’s cigarette from a trembling match, and sat down with her on a 61 tremolante accese la sigaretta di Daisy e si sedette con lei su un divano
couch far across the room, where there was no light save what the 62 dall’altro lato della stanza dove l’unica luce che giungeva era quella del
gleaming floor bounced in from the hall. 63 salone che si rifletteva sul pavimento.
64
25When Klipspringer had played “The Love Nest” he turned around on the 65 Dopo che Klipspringer ebbe suonato “The Love Nest”, si girò avvilito
bench and searched unhappily for Gatsby in the gloom. 66 cercando Gatsby nella penombra.
“I’m all out of practice, you see. I told you I couldn’t play. I’m all out of 67 “Vedi, sono fuori esercizio. Ti ho detto che non so suonare. Sono fuori
prac—” 68 eserci—”
“Don’t talk so much, old sport,” commanded Gatsby. “Play!” 69 “Basta con le chiacchiere, vecchio mio,” ordinò Gatsby. “Suona!”
70
In the morning, 71 Al mattino,
In the evening, 72 Alla sera
Ain’t we got fun— 73 Come ci divertiamo…
74
Outside the wind was loud and there was a faint flow of thunder along the 75 Fuori il vento soffiava forte e lungo lo Stretto si faceva strada il debole
Sound. All the lights were going on in West Egg now; the electric trains, 76 rimbombo dei tuoni. Le luci illuminano West Egg; treni elettrici e
men-carrying, were plunging home through the rain from New York. It was 77 pendolari si precipitavano da New York verso casa contro la pioggia. Era il
the hour of a profound human change, and excitement was generating on 78 momento di un profondo cambiamento umano e nell’aria l’eccitazione
the air. 79 cresceva.
80
There’s nothing’s surer 81 Solo una cosa è certa
The rich get richer and the poor get— children. 82 I ricchi si arricchiscono, i poveri— figliano.
In the meantime, 83 In tanto
In between time— 84 Nel frattempo…
85
86
26As I went over to say goodbye I saw that the expression of bewilderment 87 Quando mi avvicinai per salutarli, vidi che sul viso di Gatsby era tornata
had come back into Gatsby’s face, as though a faint doubt had occurred 88 un’espressione perplessa, come se lo avesse investito un lieve dubbio
to him as to the quality of his present happiness. Almost five years! There 89 riguardo la sua felicità presente. Quasi cinque anni! Dovevano esserci stati
must have been moments even that afternoon when Daisy tumbled short 90 dei momenti perfino in quel pomeriggio in cui Daisy non si era dimostrata
of his dreams—not through her own fault, but because of the colossal 91 all’altezza delle sue aspettative. Non per colpa sua, ma per colpa
vitality of his illusion. It had gone beyond her, beyond everything. He had 92 dell’enorme vitalità dell’illusione di Gatsby. Gli era sfuggita di mano. Ci si
thrown himself into it with a creative passion, adding to it all the time, 93 era lanciato con una tale passione creativa, continuamente arricchendola,
decking it out with every bright feather that drifted his way. No amount 94 ornandola con ogni piuma vivace che finiva sulla sua strada. Non c’è
of fire or freshness can challenge what a man can store up in his ghostly 95 quantità di fuoco o ghiaccio che possano mettere alla prova un uomo e
heart. 96 ciò che può custodire nel suo cuore spettrale.
As I watched him he adjusted himself a little, visibly. His hand took hold of 97 Mentre lo osservavo, si ricompose. La sua mano prese quella di lei e
hers, and as she said something low in his ear he turned toward her with 98 quando Daisy gli sussurrò qualcosa all’orecchio, si girò verso di lei con un
a rush of emotion. I think that voice held him most, with its fluctuating, 99 impeto di emozione. Credo che ciò che a catturarlo fosse il calore
feverish warmth, because it couldn’t be over-dreamed—that voice was a 100 fluttuante e febbrile della sua voce. Migliore di ogni illusione… quella voce
deathless song. 101 era un canto immortale.
They had forgotten me, but Daisy glanced up and held out her hand; 102 Si erano dimenticati di me, ma Daisy alzò lo sguardo e mi tese la mano;
Gatsby didn’t know me now at all. I looked once more at them and they 103 Gatsby non mi riconobbe affatto. Li guardai ancora e loro ricambiarono lo
looked back at me, remotely, possessed by intense life. Then I went out of 104 sguardo, distratti, posseduti da un’intensa vitalità. Uscii dalla stanza e
the room and down the marble steps into the rain, leaving them there 105 scesi la scala in marmo dirigendomi verso la pioggia, lasciandoli lì insieme.
together. 106
27Student Number 21345067 Text Number 4
Source Text Target Text
Title Look Back in Anger
Year Published 1956 Title Ricordare con Rabbia
Author J. Osborne
Language English Language Italian
Word Count 1254 Word Count 1215
Look Back in Anger is a realist play about nostalgia, alienation and identity written by John Osborne and set in the English
Midlands in the 1950s. When Osborne wrote it in 1956, young British playwrights were rejecting a theatrical tradition that
Description of Source Text was out of touch with everyday life (Monla 2014, 1). The play, considered to be the standard bearer of the kitchen-sink
• understanding of source text
• knowledge of genre within drama, focuses on the struggles and experiences of the working class. The protagonist, Jimmy Porter is a disillusioned
source contexts angry young man who spends his days blaming the world and provoking his stoic wife, Alison, towards whom he fuels
• situation of source text
resentment because of her upper-class upbringing. The selected excerpt follows the conversation between Jimmy, Alison
familiarity with the formal
features of a text (language and Cliff on a Sunday morning in April. The theme of nostalgia is extremely prominent in this extract, on the one hand,
variation(s), register, dialect) Jimmy complains that in the Britain of the 1950s there isn’t anything worth fighting for, no brave causes left. On the other
(200 words max)
hand, Alison’s father longs for a long-gone era in which things were supposedly simpler. Jimmy’s language is blunt and
irreverent and it voices people’s confusion and dissatisfaction with the social injustice of their time (Carter 1969, 144).
Strategy The author makes use of a few specific linguistic structures that might be challenging from a translation point of view. The
• identification of translation
problems
use of modulation will be needed throughout the text, for instance, the expression ‘We never seem to get any further’
• knowledge of genre within does not have a translation that fits the source text, so this sentence will be eliminated and compensated otherwise.
target context and situation of
target text
Again, the same procedure will be adopted first to convey the idiomatic expression ‘You two will drive me round the bend
• justification of translation soon’, since a literal translation might leave an Italian reader puzzled and might fail to convey the exact meaning of the
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