De eerste Italiaanse vertaling van Hendrik Conscience. Een imagologische verkenning
Résumé
This article takes into account two recent developments in translation studies: the spatial turn in the humanities on the one hand, and the cultural turn in the translation studies on the other. Both these developments have led to an increasing attention for the cross-border and cross-language circulation of literature. This article focuses on the very first Italian translation of Hendrik Conscience, the collection Vita domestica dei Fiamminghi (1846, transl. Tommaso Gar), which was probably also the very first contact of Italian readers with a Flemish author. It is therefore a 'foundational' text for the study of the Italian image-building about Flanders. It appears that Gar worked from the German translation (Flämisches Stilleben, 1845) by Melchior von Diepenbrock. This intermediary text is therefore used here as a 'touchstone'. Gar's translation strategy is not always consistent, but three aspects emerge clearly: 1) Gar does not seem to have had access to the Dutch original, which means that he has generally followed Diepenbrock's translation choices (fewer footnotes, some limited textual changes); 2) Gar's 'voice' as a translator can be heard here and there; for example, he sometimes tried to weaken the strong anti-French tone of Conscience's novels, which would have been hard to digest for the Italians, by placing some French inserts, which are not present in either the Dutch or the German texts; 3) Gar's interest in Conscience ultimately seems to have had to do more than anything with the Flemish author's success in Germany, considering also that Gar mainly tried to profile himself within the Italian literary system as a Germanist and a connoisseur of the German cultural scene.
Domaines
Littératures
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