The paper highlights the most important stages of the Italian reception of Aleksandr Puškin’s novel in verse Evgenij Onegin (Eugene Onegin), by outlining its integral Italian translations. After Luigi Delâtre’s 1856 prose translation, the first rendering of Puškin’s masterpiece’s specific formal aspects was attempted by Giuseppe Cassone, with his 1906 translation in loose hendecasyllables. The most recent translation, by Fiorando Gabbrielli (2006), is composed in octosyllables. In search of the most “equivalent” rendering of the extraordinary fluidity of Puškin’s verse, the article focuses on the very different metrical choices of the many Italian translators since Cassone’s work, from the most to the least free versions.

Ancora sull’«Onegin» “italiano”

NIERO, ALESSANDRO
2016

Abstract

The paper highlights the most important stages of the Italian reception of Aleksandr Puškin’s novel in verse Evgenij Onegin (Eugene Onegin), by outlining its integral Italian translations. After Luigi Delâtre’s 1856 prose translation, the first rendering of Puškin’s masterpiece’s specific formal aspects was attempted by Giuseppe Cassone, with his 1906 translation in loose hendecasyllables. The most recent translation, by Fiorando Gabbrielli (2006), is composed in octosyllables. In search of the most “equivalent” rendering of the extraordinary fluidity of Puškin’s verse, the article focuses on the very different metrical choices of the many Italian translators since Cassone’s work, from the most to the least free versions.
La brevitas dall’illuminismo al XXI secolo. Scritti in onore di Giulia Cantarutti / Kleine Formen in der Literatur zwischen Aufklärung und Gegenwart. Festschrift für Giulia Cantarutti
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Niero, Alessandro
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11585/589459
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