- Jolanta Dygul, Assistant Professor at the Department of Italian Studies at the University of Warsaw, mainly intereste... moreJolanta Dygul, Assistant Professor at the Department of Italian Studies at the University of Warsaw, mainly interested in Italian theatre and literature, as well as in the reception of Italian culture in Poland. She is the author of a monograph on metatheatrical works by Carlo Goldoni (Metateatralność w dramaturgii Carla Goldoniego, Warszawa 2012) and Polish critical edition of the translation of Carlo Goldoni’s Teatr komediowy (Gdańsk, 2011), Niccolò Machiavelli’s Mandragora (Warszawa 2017), and Historia Calandra by Dovizi da Bibbiena (Warszawa 2018), and is also the editor of the anthology of modern Italian drama: Edoardo Erba, Fausto Paravidino, Pierpaolo Palladino, Trzy sztuki włoskie (Warszawa 2015).edit
The events in Poland between the years 1763 and 1772 that led to the first partition of the Republic aroused great interest in Europe. The information in question also appeared in the newspaper pages of several Italian states. The theme... more
The events in Poland between the years 1763 and 1772 that led to the first partition of the Republic aroused great interest in Europe. The information in question also appeared in the newspaper pages of several Italian states. The theme returned in volumes written by Venetian authors, including Domenico Caminer's Storia della guerra presente tra la Russia e la Porta Ottomana and Istoria delle turbolenze della Polonia dalla morte di Elisabetha Petrowna fino alla pace fra la Russia e la porta Ottomana in cui si trovano tutti gli avvenimenti cagione della rivoluzione di quel regno by Giacomo Casanova. The article aims to highlight the two different models of information used to elaborate on the same historical subject: Caminer's dry style, typical of gazetteers who tend rather to stick to the facts and show great reticence in their comments, and Casanova's polemical and subjective style.
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Przedmiotem artykułu jest analiza trzech utworów dramatycznych wydanych przez aktora-autora teatru dell’arte, Gennara Sacca, który gościł na dworze polskim w 1699 roku. Sacco zasłynął z roli Coviella. Początkowo grał w Neapolu, potem na... more
Przedmiotem artykułu jest analiza trzech utworów dramatycznych wydanych przez aktora-autora teatru dell’arte, Gennara Sacca, który gościł na dworze polskim w 1699 roku. Sacco zasłynął z roli Coviella. Początkowo grał w Neapolu, potem na północy Półwyspu Apenińskiego i jak wielu włoskich aktorów oferował swój talent różnym władcom europejskim (w Celle, Warszawie, Madrycie). Prawie nic nie wiemy o jego pobycie na warszawskim dworze Augusta II, brakuje źródeł na temat repertuaru oraz składu osobowego zespołu. Zachował się jednak opublikowany w Warszawie tekst dramatyczny Commedia smascherata, ovvero i comici esaminati. Przeprowadzona w artykule analiza tej sztuki na tle dwóch poprzednich wydanych przez aktora ponad dziesięć lat wcześniej we Włoszech poszerza wiedzę o strukturze, dystrybucji i wariantowości ról w teatrze dell’arte. Przyczynia się także do określenia wpływu lokalnych warunków na sztukę włoskich artystów dell’arte przemieszczających się między ośrodkami.
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In his Ircana trilogy (La sposa persiana, 1753; Ircana in Julfa, 1756; Ircana in Ispahan, 1757) Carlo Goldoni sets the plot in exotic Persia. In order to make the story more plausible, he refers to the book of an English traveller, Thomas... more
In his Ircana trilogy (La sposa persiana, 1753; Ircana in Julfa, 1756; Ircana in Ispahan, 1757) Carlo Goldoni sets the plot in exotic Persia. In order to make the story more plausible, he refers to the book of an English traveller, Thomas Salmon and his Modern History or the Present State of all Nations: Describing Their Respective Situations, Persons, Habits, Animals and Minerals (Italian version: Lo stato presente di tutti i paesi e popoli del mondo naturale, politico e morale. Con nuove osservazioni e correzioni degli antichi e moderni viaggiatori, Venice 1731–1766), and in particular to the fifth volume of the work entitled Stato presente della Monarchia della Persia. Goldoni borrows various information from the book relating to the customs, cuisine, marriages, history, the structure of the government, and the character of people, sometimes quoting brief fragments of Salmon’s book, but despite the above, however, the image of Persia conforms to the tradition. The aim of this art...
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ON POETIC TRANSLATION IN 16TH-17TH CENTURY POLAND: IMITATION AND FIDELITY BETWEEN CENTRE AND PERIPHERY OF THE EUROPEAN POLYSYSTEM This article focuses on some of the ideas and poetics of literary translation that were circulating in... more
ON POETIC TRANSLATION IN 16TH-17TH CENTURY POLAND: IMITATION AND FIDELITY BETWEEN CENTRE AND PERIPHERY OF THE EUROPEAN POLYSYSTEM
This article focuses on some of the ideas and poetics of literary translation that were circulating in Poland at the turn of the 16th and the 17th centuries, notably Piotr Kochanowski’s two arch-translations of Tasso’s and Ariosto’s poems (goffred and orland szalony), which are emblematic of two ways of translating. The first tends towards imitation, towards achieving analogous results idiomatically in the target language (“rendering” the text in the target language) – largely, as we would say today, “target oriented”; the second translation is more faithful to the original, though not entirely “source oriented”. The 16th/17th century literary translation can be situated within the dialectic polarity between these two modes, which are neither conflicting nor even opposed to each other (as evidenced by the fact that the same translator employs both approaches). Both in the practice of translators and in the few theories in existence at the time and in association with other cultural macrophenomenona such as the question of language, Italianism, versification etc., poetic translation represents a fundamental chapter of the great formative book of modern Polish literature. It characteristically and continuously positions itself between the centre and the periphery of the European cultural polysystem.
This article focuses on some of the ideas and poetics of literary translation that were circulating in Poland at the turn of the 16th and the 17th centuries, notably Piotr Kochanowski’s two arch-translations of Tasso’s and Ariosto’s poems (goffred and orland szalony), which are emblematic of two ways of translating. The first tends towards imitation, towards achieving analogous results idiomatically in the target language (“rendering” the text in the target language) – largely, as we would say today, “target oriented”; the second translation is more faithful to the original, though not entirely “source oriented”. The 16th/17th century literary translation can be situated within the dialectic polarity between these two modes, which are neither conflicting nor even opposed to each other (as evidenced by the fact that the same translator employs both approaches). Both in the practice of translators and in the few theories in existence at the time and in association with other cultural macrophenomenona such as the question of language, Italianism, versification etc., poetic translation represents a fundamental chapter of the great formative book of modern Polish literature. It characteristically and continuously positions itself between the centre and the periphery of the European cultural polysystem.
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L’articolo si pone come obiettivo quello di presentare la strategia della manipolazione politica nei paratesti che accompagnano le traduzioni della letteratura italiana nella Polonia stalinista. Per mostrare diversi procedimenti... more
L’articolo si pone come obiettivo quello di presentare la strategia della manipolazione politica nei paratesti che accompagnano le traduzioni della letteratura italiana nella Polonia stalinista. Per mostrare diversi procedimenti editoriali si analizzano due esempi tra i più significativi: tre edizioni del romanzo Agnese va a morire di Renata Viganò (le prime due del 1951, la terza del 1955) e la pubblicazione di un brano del romanzo Sempione strizza occhio al Frejus di Elio Vittorini sulla rivista „Przekrój” del 1953, che permettono di individuare una specifica cornice modale in cui vengono iscritte le opere italiane, non solo quelle letterarie.
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Diana, Aurelia e le altre: attrici e capocomiche dell’ultimo duca di Mantova The piece introduces the activity of artistic directors Teresa Costantini, Angiola Paghetti and Colomba Coppa in the service of Ferdinando Carlo Gonzaga-Nevers,... more
Diana, Aurelia e le altre: attrici e capocomiche dell’ultimo duca di Mantova
The piece introduces the activity of artistic directors Teresa Costantini, Angiola Paghetti and Colomba Coppa in the service of Ferdinando Carlo Gonzaga-Nevers, their generous patron and the last Duke of Mantua.
Referencing studies begun thirty years ago on the musicological side and using recent historical research and archive sources, the essay highlights the artistic, organisational and management responsibilities of Commedia dell’Arte directors. It reconstructs their relations with Ferdinando Carlo, ducal agents and the Gonzaga court on the one hand, and their relations with Venetian impresarios Grimani, with whom the Duke of Mantua had established a lasting and generous collaboration, on the other.
Performing women, prejudicially equated with prostitutes and beneficiaries of gifts and privileges, were depictions of love and glory for a discredited prince, whose array of artists was, however, among the most dense and dynamic in Italy. Actresses progressively moved away from the codes of courtliness and, as professionals registered and paid in money, they came to have strong bargaining power and levels of autonomy. However, they were subjected to rules and obligations, especially in Venice where theatre owners made spaces available only to companies under the protection of the princes who were politically aligned with the Serenissima.
During the years of the so-called Spanish succession war, Diana, Aurelia and the others moved between Venice, Mantua and Casale, where Ferdinando Carlo had moved after the blockade of Mantua accompanied by a colourful procession of women, musicians and comedians. Through theatrical misadventures mingled with military manoeuvres in Mantuan territory, and via changes of destination, programme or repertoire, we read the story of a duchy that had lost its identity and of a rapidly changing theatrical market.
The piece introduces the activity of artistic directors Teresa Costantini, Angiola Paghetti and Colomba Coppa in the service of Ferdinando Carlo Gonzaga-Nevers, their generous patron and the last Duke of Mantua.
Referencing studies begun thirty years ago on the musicological side and using recent historical research and archive sources, the essay highlights the artistic, organisational and management responsibilities of Commedia dell’Arte directors. It reconstructs their relations with Ferdinando Carlo, ducal agents and the Gonzaga court on the one hand, and their relations with Venetian impresarios Grimani, with whom the Duke of Mantua had established a lasting and generous collaboration, on the other.
Performing women, prejudicially equated with prostitutes and beneficiaries of gifts and privileges, were depictions of love and glory for a discredited prince, whose array of artists was, however, among the most dense and dynamic in Italy. Actresses progressively moved away from the codes of courtliness and, as professionals registered and paid in money, they came to have strong bargaining power and levels of autonomy. However, they were subjected to rules and obligations, especially in Venice where theatre owners made spaces available only to companies under the protection of the princes who were politically aligned with the Serenissima.
During the years of the so-called Spanish succession war, Diana, Aurelia and the others moved between Venice, Mantua and Casale, where Ferdinando Carlo had moved after the blockade of Mantua accompanied by a colourful procession of women, musicians and comedians. Through theatrical misadventures mingled with military manoeuvres in Mantuan territory, and via changes of destination, programme or repertoire, we read the story of a duchy that had lost its identity and of a rapidly changing theatrical market.
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Pietro Chiari, La commediante in fortuna, a cura di Valeria G.A. Tavazzi, Edizioni di Storia e Letteratura, Roma 2012, ss. 293.