1 Silvia Fini student number: 21330102 A Cabinet of Oddities Trinity College Dublin MPhil in Literary Translation 2022 Supervised by Andrea Bergantino peculiarities in translation 2 Contents 1 The Jabberwocky 4 2 Bocca di Rosa 9 3 Woody 15 4 Dracula 23 5 Toto e la sauna 34 6 The Cattle Raid of Cooley 50 7 Renga 55 8 The Raven 59 3 Introduction Originally, this translation portfolio was not built around any theme. It was born from sheer madness and enthusiastic will to play with words and their translations. Then my supervisor pointed out a pattern in my text choice: all of my source texts have some kind of unusual language element. I immediately and fully embraced this unplanned fil rouge, and I slowly realised that maybe it was not planned, but it was certainly intentional, at least on a subconscious level. It is a tendency of mine to look for the peculiarities around me, and this reflects on the content I consume, and apparently the content I produce in translation. ‘If there’s something strange in your neighbourhood’ I will find that and translate it. Whether it is a nonsense poem full of neologisms, or a ‘60s song mixing swearwords and high vocabulary. A book written from a dog’s perspective in his own words and punctuation. A classic novel with a villain speaking in the stiffest English. A comedy performance based on mispronunciation and nonsensical rambling. An old Irish legend justifying surreal gruesome toponyms. A poem originally co- written by four people in four languages (and translated in three) in a whirl of constant citation and auto citation, through sounds and punning. Verses dotted in old fashion vocabulary inspired by grief and ‘old and forgotten lore.’ Being an advocate for peculiarities, each time I tried to make sure the weirdness did not stop at the source text, but also transferred in the target text. In some cases this was achieved by preserving the original quirks of the texts and simply transferring them into the target language. Woody the dog still uses his own special vocabulary and punctuation in English. Count Dracula speaks very stiff Italian to unsettle child readers. All of the toponyms, linked to the dismembering and death of two bulls, still kept their gory and descriptive fashion in a very colloquial Italian guided tour for teens. Other times I had to be more creative to fully transfer the oddities of the source texts. On the one hand, “English” nonsense became “Italian” nonsense. On the other hand, Italian rambling about donkeys became English rambling about pigs. Certain puns and sounds from the English translation of an originally quadrilingual poem became different puns and sounds in my Italian translation. Lastly, in two instances I purposefully unleashed eccentricity upon poor unknowing victims, just for the sake of creativity. I blended the akin stories of Bocca di Rosa and Molly Malone in a poised but at the same time irreverent Irish tarantella. I brought together the rhymes of Poe and the words of Dante, to link them in their grieving for lost love. This is what fills my cabinet of oddities. I hope you will enjoy browsing through it. 4 Student Number 21330102 Text Number 1 Source Text Target Text Title The Jabberwocky Title Lo Zampeglione Year Published 1871 Author Lewis Carrol Language English Language Italian Word Count 166 Word Count 153 Description of Source Text • understanding of source text • knowledge of genre within source contexts • situation of source text familiarity with the formal features of a text (language variation(s), register, dialect) (200 words max) The Jabberwocky is a nonsense poem. As illustrated by Prados (2018, 5) the main characteristic of nonsense is opening the reader’s imagination and helping them develop creativity. For this reason, nonsense has been mostly targeted to children. Carroll in particular ‘had been using the theme of “nonsense words” for some time, for children are continually operating in a world in which many words make no “sense” to them’ (Rose 1995, 2). The main characteristic of nonsense words in the poem is that ‘they are phonotactically and morphologically “possible” words of English’ (Lecercle 2019, 19) and they can be classified as: • portmanteau words (Goldfarb 1999, 86): a combination of two words to convey one meaning (e.g., ‘slithy’ combination of ‘lithe’ and ‘slimy’) • ‘neologisms [that] signify through their iconic similarity to known/”easy” words and idioms’ (Rose 1995, 10) (e.g., ‘wabe’ similar in sound to “wave” but ‘occupying a position idiomatically parallel to “wind”’ (ibid)) This way readers recognizes ‘familiar English sound clusters and syntactic structures’ (Goldfarb 1999, 87) and can be ‘receptive to the poem’s sense despite the nonconformity of the implication of many of its words’ (ibid). The poem is written in quatrain verse and the general rhyme scheme is A-B-A-B. 5 Strategy • identification of translation problems • knowledge of genre within target context and situation of target text • justification of translation production of genre for target context (200 words max) The TT will be published in RivistaDada, an art magazine for children (https://www.artebambini.it/attivita- editoriale/rivistadada/), in a volume dedicated to Nonsense. Since the ST was already targeted to children, my aim is to reproduce the ST’s following features: • portmanteau words (e.g., ST l.1: ‘slithy’ TT l.1 ‘slibili’, combination of ‘slime’ [slime] and ‘flessibili’ [flexible]) • neologisms similar to known words and idioms (e.g. ST l.2: ‘wabe’ TT l.2: ‘torbrenti’, sounding similar to ‘torrenti’ [brooks]) • making it possible for readers to recognize Italian sound clusters and syntactic structures through phonotactically and morphologically “possible” Italian words (e.g. TT l.1 ‘slibili’, using the suffix -ibili to signify an adjective; ST l.10 ‘massiante’, using the suffix -ante to signify an adjective) • simple rhyme scheme A-B-A-B Since the magazine’s aim is to educate children on different genres and forms of art, I want to put emphasis on the TT being a translation, which might often fail to be seen as a form of art. For this purpose I will pay homage to the ST by translating its nonsense words with Italian nonsense words that are similar in sound (e.g. ST l.10 ‘manxome’ TT: l.10 ‘massiante’, the double s reproduces the x sound). Critical Reflection • textual analysis (200 words max) I gave both my ST and TT to a group of Italian children. Translating nonsense is often seen as a challenge (‘nonsense is often hard to translate without losing an essential element’ (Tigges 1988, 5)) or even as a pointless task (‘you can, may, must, should translate nonsense, and yet you cannot, may not, must not, should not translate it’ (Lecercle 2019, 16)). Since the experience of reading nonsense is aimed at stimulating the reader’s creativity, sticking to the ST might suffice in prompting the imaginative process. However, when the children were given the ST alone, none of them knew what was happening in the text, and they were not stimulated to creatively figure out the sense of the poem, because of the unfamiliarity not only with the words but also with the sounds of the text. Once given the TT, they were able to navigate it, despite the nonconforming vocabulary, and formulate their hypothesis. This was possible because the words echoed https://www.artebambini.it/attivita-editoriale/rivistadada/ https://www.artebambini.it/attivita-editoriale/rivistadada/ 6 Italian morphology and structure. Thus, nonsense texts like The Jabberwocky, being so interconnected with the language they mimic, might require to be translated in some way to be appreciated by people who cannot engage with the source language. Works Cited • use of sources and reference material Goldfarb N. 1999. Carroll's Jabberwocky, The Explicator, 57:2, 86-88, DOI: 10.1080/00144949909596826 Lecercle, Jean-Jacques. 2019. Modalities of translating nonsense. Translation Studies, 12:1, 15-23. DOI: 10.1080/14781700.2019.1601129 Prados, L. R. 2018. Alice's Adventures in Wonderland and Literary Nonsense: A Deconstructive Analysis of Lewis Carroll’s Novel (Doctoral dissertation). RivistaDada, https://www.artebambini.it/attivita-editoriale/rivistadada/ Rose, A. 1995. Lewis Carroll’s ‘Jabberwocky’: Non-sense not nonsense. Language and Literature, 4(1), 1-15. Tigges, Wim. 1988. An Anatomy of literary nonsense. Amsterdam: Rodopi. https://www.artebambini.it/attivita-editoriale/rivistadada/ 7 Source Text The Jabberwocky Target Text Lo Zampeglione Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. “Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!” He took his vorpal sword in hand; Long time the manxome foe he sought— So rested he by the Tumtum tree And stood awhile in thought. And, as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came! One, two! One, two! And through and through 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 L’era bariggio, e le treglie slibili Grifavano e guglievano nei torbrenti: Le borogovie erano tutte mibili E i rispi muci erano fuorflenti. “Guardati dallo Zampeglione figlia mia! Le zanne che mordono, gli artigli che prendono! Guardati dall’uccello Giubulo, e scappa via Dal frumoso Briéndono!” Impugnò la sua vorpa spada; Cercò a lungo il massiante nemico Quindi si fermò sotto l’albero di Tumio E rimase a riflettere un poco. E, mentre rifletteva con uffaglia, Lo Zampeglione, con occhi di rubino, Giunse soffiando dalla tulgiosa boscaglia, Gorgogliando lungo il cammino! Un, due! Un, due! E fino in fondo 8 The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back. “And hast thou slain the Jabberwock? Come to my arms, my beamish boy! O frabjous day! Callooh! Callay!” He chortled in his joy. Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. 18 19 20 21 22 23 24 25 26 27 28 la vorpa lama ziffigliò! Lasciò lì la salma mesta, e presa la testa Al cloppo indietro tornò. “Hai dunque sgominato lo Zampeglione? Abbracciami mia radiosa figlia! Oh che giorno fieggioso! Calù! Calé!” Ridacchiò lei gaia. L’era bariggio, e le treglie slibili Grifavano e guglievano nei torbrenti: Le borogovie erano tutte mibili E i rispi muci erano fuorflenti. 9 Student Number 21330102 Text Number 2 Source Text Target Text Title Bocca di rosa Title Molly Malone Year Published 1967 Author Fabrizio De Andrè and Giampiero Reverbi Language Italian Language English Word Count 637 Word Count 468 Description of Source Text • understanding of source text • knowledge of genre within source contexts • situation of source text familiarity with the formal features of a text (language variation(s), register, dialect) (200 words max) Bocca di rosa is an Italian song written by Fabrizio De Andrè and Giampiero Reverbi, performed by De Andrè. De Andrè was one of the most popular cantautori of the Seventies, a generation of singers and songwriters born during a peak of political turmoil who gained the status of public intellectuals “singing a social and political message in addition to juggling market interests” (Serra 2011, 99). The song is about a passionate woman nicknamed Bocca di rosa [rose mouth] arriving in a small village and disrupting the everyday life of its citizens. Because of her promiscuous behaviour, she is then forced to leave the village and moves to another town, where she becomes a beloved member of the community. De Andrè’s intent is to criticize “the hypocritical moralism of Catholic conformists [...] that position themselves as defenders of public morality, often accusing the marginalized members of society.” (Orsi, n.d.). The song is characterized by an intricate rhyme scheme (prevalently A-B-C-B) and is up-tempo, reminiscent of a tarantella (Vacca 2007, 16). De André plays with lexicon, alternating very high register, almost archaic words (e.g. ‘concupito’ [yearned for]) with very low register words, mostly insults like ‘cornute’ [cuckold, cheated on]. Strategy • identification of translation problems • knowledge of genre within target context and situation of target text The TT will be performed during an event at the Italian Culture Institute in Dublin, to show and celebrate how Italian and Irish culture can intertwine through music: the target audience will be a combination of people familiar with De Andrè’s music and traditional Irish songs, and people who wish to learn more about both. For this purpose I will integrate elements of Irish folk song Molly Malone into my translation: I chose this song for its popularity and for the affinities 10 • justification of translation production of genre for target context (200 words max) between the fishmonger protagonist Molly Malone and Bocca di rosa’s characters, both marginal members of the society, both associated with prostitution against their will. To merge the ST with the folk song I will: • cite multiple elements from the folk song (e.g. wheelbarrow, cockles and mussels, alive, alive-oh) • integrate references to Molly’s character (e.g. profession and alleged side business) • set the story in Ireland: the Irish folk song is set in Dublin; I will use Tipperary to respect the rhyme-scheme At the same time, I will replicate features of the ST for the audience who knows De Andrè: • the tarantella 6/8 rhythm (Oxford Dictionary of Music, 2012) • the rhyme-scheme (A-B-C-B) • the alternation of high and low register words Critical Reflection • textual analysis (200 words max) I showed my translation to a sample audience of: • Italians familiar with both songs • Irish people familiar with Molly Malone but not with ST I asked them all to listen to the original song after reading the TT, and some of them tried performing it. The Italian audience was pleased with the concept behind the translation. They spotted the references to the Irish folk song immediately and were amused by them. The Irish audience was confused by the unfamiliar context in which Molly was suddenly placed, recognizing the references to the folk song but obviously not the rest of the song. However, they were intrigued by the TT, requested information on the ST, and wanted to listen to the song. Both groups commented on the rhythm of the TT: they thought the TT respected the rhythm of the ST and they were able to sing-along after listening to the original song, except for a couple of stanzas which required a second listen, e.g., stanza n.12 where they had difficulties following the fast rhythm because of alliteration in the lyrics (‘fail to fulfil’, ‘escorted her to the station’): different word-choices could prevent stumbling on the lyrics and improve performability. Works Cited Orsi, Marianna on Bocca di Rosa by Fabrizio De Andrè. The Italian Song: Italian cantautori in Translation 11 • use of sources and reference material https://theitaliansong.com/songs/bocca-di-rosa/ "tarantella." in The Oxford Dictionary of Music. 2012. Edited by Kennedy, Joyce, Michael Kennedy, and Tim Rutherford- Johnson. Oxford University Press. https://www.oxfordreference.com/view/10.1093/acref/9780199578108.001.0001/acref-9780199578108-e-8961 Serra, Ilaria. 2011. “Teaching Italy Through Its Music. The Meaning of Music in Italian Cultural History.” Italica 88, no. 1 94–114. http://www.jstor.org/stable/23070860. Vacca, Giovanni. 2007. “La cattiva strada di Fabrizio De André”. Musica Domani no.145: 16-17. https://theitaliansong.com/songs/bocca-di-rosa/ https://www.oxfordreference.com/view/10.1093/acref/9780199578108.001.0001/acref-9780199578108-e-8961 http://www.jstor.org/stable/23070860 12 Source Text Bocca di Rosa Target Text Molly Malone La chiamavano bocca di rosa Metteva l'amore, metteva l'amore La chiamavano bocca di rosa Metteva l'amore sopra ogni cosa Appena scese alla stazione Nel paesino di Sant'Ilario Tutti si accorsero con uno sguardo Che non si trattava di un missionario C'è chi l'amore lo fa per noia Chi se lo sceglie per professione Bocca di rosa né l'uno né l'altro Lei lo faceva per passione Ma la passione spesso conduce A soddisfare le proprie voglie Senza indagare se il concupito Ha il cuore libero oppure ha moglie E fu così che da un giorno all'altro Bocca di rosa si tirò addosso L'ira funesta delle cagnette A cui aveva sottratto l’osso Ma le comari d'un paesino Non brillano certo in iniziativa Le contromisure fino a quel punto Si limitavano all’invettiva Si sa che la gente dà buoni consigli 1 2 3 4 5 6 They called her Molly Malone She carried love in her wheelbarrow They called her Molly Malone she went through streets broad and narrow Once she arrived at the train station In a small village in Tipperary Everyone realised at a glance She certainly wasn’t a missionary Some make love when they are bored Others pick it as a profession Molly Malone wasn’t like that Making love was just her passion The problem here is often passion will push you to gratify your desire Without considering the issue Of whether the object’s a wedded sire And just like that, without warning Many got mad at Molly Malone Namely all those little bitches Because she took away their bone Still the old wives of a village Don’t really stand out for their drive The countermeasures were very limited Mostly a little bit of gibe People are known to give good advice 13 Sentendosi come Gesù nel tempio Si sa che la gente dà buoni consigli Se non può più dare cattivo esempio Così una vecchia mai stata moglie Senza mai figli, senza più voglie Si prese la briga e di certo il gusto Di dare a tutte il consiglio giusto E rivolgendosi alle cornute Le apostrofò con parole argute "Il furto d'amore sarà punito" Disse "dall'ordine costituito” E quelle andarono dal commissario E dissero senza parafrasare "Quella schifosa ha già troppi clienti Più di un consorzio alimentare” Ed arrivarono quattro gendarmi Con i pennacchi, con i pennacchi Ed arrivarono quattro gendarmi Con i pennacchi e con le armi Spesso gli sbirri e i carabinieri Al proprio dovere vengono meno Ma non quando sono in alta uniforme E l'accompagnarono al primo treno Alla stazione c'erano tutti Dal commissario al sagrestano Alla stazione c'erano tutti Con gli occhi rossi e il cappello in mano A salutare chi per un poco 7 8 9 10 11 12 13 Feeling like Jesus in the temple People are known to give good advice When they stop setting a bad example Thus an old spinster lit the fire Without children, without desire She took the trouble and the chance To advise the ladies how to rant And while addressing the cheated wives She spoke to them witty and wise “The theft of love will be condemned.” “By the Establishment” she said And they went to the chief of police Said, straight to the point, nobody waffled: “That fishmonger tart has too many clients who couldn’t care less about cockles and mussels” And four constables got there With their helmets, with their helmets And four constables got there With their helmets and warfare Oftentimes cops and officers Fail to fulfil their obligation Except when they’re wearing a dress uniform Thus they escorted her to the station Everyone was at the train terminal From the chief to the clergymen Everyone was at the train terminal All teary-eyed, hats off their head To say goodbye to someone who 14 Senza pretese, senza pretese A salutare chi per un poco Portò l'amore nel paese C'era un cartello giallo Con una scritta nera Diceva "addio bocca di rosa Con te se ne parte la primavera” Ma una notizia un po' originale Non ha bisogno di alcun giornale Come una freccia dall'arco scocca Vola veloce di bocca in bocca E alla stazione successiva Molta più gente di quando partiva Chi manda un bacio, chi getta un fiore Chi si prenota per due ore Persino il parroco che non disprezza Fra un miserere e un'estrema unzione Il bene effimero della bellezza La vuole accanto in processione E con la Vergine in prima fila E bocca di rosa poco lontano Si porta a spasso per il paese L'amore sacro e l'amor profano 14 15 16 17 18 19 alive, alive-oh, alive, alive-oh To say goodbye to someone who Brought the people love and glow There was a yellow sign With something written in blue It said “goodbye Molly Malone You’re taking the spring away with you” But such a peculiar kind of account Does not need a newspaper recount It shoots like an arrow from the bow Flying swiftly from town to town At the next station she found outside Many more people than she left behind Blowing kisses, throwing flowers Some even booked a couple hours Even the curate who doesn’t scorn much Between misereres and last rites The fleeting good of a beauty as such Wants her to walk with him side by side And with Virgin Mary standing front row And Molly Malone not too far away They carry love in procession and show Holy and profane both on display 15 Student Number 21330102 Text Number 3 Source Text Target Text Title Woody Title Woody Year Published 2015 Author Federico Baccomo Language Italian Language English Word Count 1315 Word Count 1290 Description of Source Text • understanding of source text • knowledge of genre within source contexts • situation of source text familiarity with the formal features of a text (language variation(s), register, dialect) (200 words max) Woody is an animal autobiography, “a first-person fictional narrative in which an animal tells its own story” (Smith 2015, 725). This genre arose in the 1800s with the question if animal behaviour was “the product of reason or instinct” (ibid, 729): as Smith (ibid 725) points out, conventionally the purpose of these texts is “to improve human behaviour through lessons about kindness”. Woody’s main feature is the voice of its dog narrator Woody, characterised by: • extensive use of the colon (125 occurrences in ST): Baccomo (2016, from 1:39 to 2:45) employs it to build the ‘emotional syntax’ he imagines dogs’ minds have • no articles • talking about himself in third person (e.g., ‘Woody: allunga muso e alza orecchie’ [Woody: stretches his snout and pricks his ears]) • some everyday objects and characters are not mentioned using their real names but via a description (e.g., ‘musica di porta chiamata: Campanello’ [music of called door: Doorbell], ‘Mamma di Padrona Signora Luisa’ [Mom of Owner Mrs Luisa]) • grammatically correct sentences expressed by humans only (e.g., ‘Ma che bel cane, come si chiama?’ [What a beautiful dog, what’s its name?]) 16 These features result in an informal, borderline ungrammatical style. Strategy • identification of translation problems • knowledge of genre within target context and situation of target text • justification of translation production of genre for target context (200 words max) The target text will be published by Ashland Creek Press: their mission statement is to publish books about the environment, animal protection, ecology and wildlife “which combine these themes with compelling stories” (https://www.ashlandcreekpress.com/about/). TT will be published alongside other books with first-person animal narrators (e.g., White Fang, Dolphin Way) in a collection in support of WWF, to raise awareness on the topic of animal abuse. For this purpose, my main goal will be to preserve the animal’s point of view and unique voice by: • keeping all the colons, as they are the main feature of Woody’s voice • never using articles, unless a human is speaking • keeping the way Woody refers to himself in third person • keeping the description-like names of objects and people: I will do a word for word translation of those. Additionally, since the goal is to sensitize the audience, I will anglicize the names of the characters, either by changing the spelling (e.g. Luisa -> Louise, Antonio -> Anthony) or by substitution (e.g. Ornella -> Orla), to favour identification and make the narration more immersive for an English-speaking audience, which could potentially be distracted by not-so- common foreign names (e.g., Ornella). Critical Reflection • textual analysis (200 words max) The text was presented to a sample audience with a brief explanation of the publication context. Based on their feedback, my strategy was overall successful: the readers commented on how they felt moved by the story and empathized both with the character of the owner and, most importantly, with the animal protagonist itself. Even though at first they were taken aback by the unconventional grammar and the first person narrator using the third person, going forward the text became easier to read, and the narration was never disrupted. According to the readers’ feedback, the most difficult thing to get used to was the overbearing use of the colon, which gave the text an unusual rhythm: reducing the number of colons, especially in longer passages, could be implemented in https://www.ashlandcreekpress.com/about/ 17 the strategy to increase readability of the story, if this was deemed to be a priority in the editing phase. In my opinion though, this peculiar use of punctuation is a key element to the protagonist’s voice, so it should be preserved. Works Cited • use of sources and reference material Baccomo, Federico. 2015. Woody. 1st ed. Giunti. Bologna, Italy. Baccomo, Federico. 2016. Video interview on Youtube channel Il Filo di Arianna. #INTERVISTE: Federico Baccomo, “Woody”. 3:25. https://www.youtube.com/watch?v=rr-nLxyGRUk Smith, Julie A. 2015. Representing Animal Minds in Early Animal Autobiography: Charlotte Tucker’s ‘The Rambles of a Rat’ and Nineteenth-Century Natural History. Published in Victorian Literature and Culture 43, no. 4: 725–44. http://www.jstor.org/stable/24577321 https://www.youtube.com/watch?v=rr-nLxyGRUk http://www.jstor.org/stable/24577321 18 Source Text Woody Target Text Woody Mio nome: Woody. Miei anni: quasi tre. Mia razza: basenji. Woody: sa bene perché Padrona: dice sempre quando persone: chiedono. Ma che bel cane, come si chiama? Woody. Ma che bel cane, quanti anni ha? Quasi tre. Ma che bel cane, di che razza è? Basenji. Ma che bel cane: eccomi, proprio me! * Padrona: no basenji, Padrona: femmina umana. Ventidue anni. Buona, brava. Nome: Laura. Woody: da tre giorni senza Padrona. Woody: da tre giorni dentro gabbia. Woody: manca Padrona, tantissimo. * Woody: sempre stato con Padrona. Per tutta vita. Quando era piccolo- cucciolo: con Padrona. Quando era cucciolo-più-grande: con Padrona. Quando era basta-cucciolo: con Padrona. E ora che è basta-cucciolo-più- grande? Risposta uguale: con Padrona! A volte succede che Padrona: esce, e Woody: rimane da solo insieme a calzino di Padrona (in bocca) oppure insieme a Vicina Di Casa Signora Ornella (non in bocca, tranne spiacevole incidente chiamato: Morso Di Polpaccio). Allora Woody: sta seduto davanti a porta. Non interessa più cibo, neanche giochi, neanche carezze. Solo: fissare porta e aspettare. E alla fine Padrona: torna sempre. Ancora prima di sentire sua voce, Woody: allunga muso e alza orecchie. C’è in aria qualcosa di diverso, qualcosa che dice: ecco, Padrona sta tornando, e infatti Padrona: apre porta e con My name: Woody. My old: almost three. My breed: basenji. Woody: knows well because Owner: always says when people: ask. What a beautiful dog, what’s its name? Woody. What a beautiful dog, how old is it? Almost three. What a beautiful dog, what breed is it? Basenji. What a beautiful dog: here I am me! * Owner: not basenji, Owner: human female. Twenty-two old. Good, nice. Name: Laura. Woody: three days without Owner. Woody: three days in cage. Woody: misses Owner, so much. * Woody: always been with Owner. All life. When was baby-puppy: with Owner. When was big-puppy: with Owner. When was no-more-puppy: with Owner. And now that is no-more-big-puppy? Same answer: with Owner! Sometimes Owner: go out, and Woody: left alone with Owner’s sock (in mouth) or with Neighbour Mrs Orla (not in mouth, except unpleasant incident called: Calve Bite). Then Woody: sits in front of door. Doesn’t care about food, or games, or scritches. Only: stares at door and waits. And in the end Owner: always comes back. Even before hearing her voice, Woody: stretches his snout and pricks his ears. Something different in air, something that tells: here, Owner is coming back, and indeed Owner: opens door and with arms wide open says: how is my sweetie doing, how is he? and then Woody: gets up, and runs, runs, runs, and shakes butt very fast, 19 braccia spalancate dice: Come sta il mio tesoro, come sta?, e allora Woody: scatta in piedi, e corre, corre, corre, e agita sedere sveltissimo, e fa cerchi intorno a Padrona, e salta dentro sue braccia, e, allacciati stretti come guinzaglio, Woody e Padrona: rotolano su pavimento per: gioia grande di stare ancora insieme. Rotolano, rotolano, rotolano, senza fare attenzione a pianta di ingresso che cade per terra, e quando Mamma Di Padrona Signora Luisa: viene a fare visita, ogni volta dice: Ma com’è che questo ficus lo vedo sempre più storto, non è che gli dai troppa acqua? A volte, Padrona: lascia Woody a casa per tempo lungo. Addirittura tutta notte. Poi, quando torna, Woody, senza volere: fa pipì su pavimento. Padrona mette mani sopra guance e dice: Ma no, Woody, che combini, proprio sul tappeto della nonna, si è tutto emozionato il mio tesoro? Woody: abbassa testa. Con occhi fissi su macchia di bagnato, abbaia piano. No emozionato, Woody: felice tantissimo. Ma ora Woody: no felice tantissimo. Woody: quasi niente felice. Tre giorni dentro gabbia. Tre giorni senza Padrona. Con testa appoggiata in mezzo a zampe, Woody: guarda sbarre, lecca ruggine e aspetta. Aspetta, e spera che Padrona: torna. Torna, Padrona, per piacere. Woody: promette che fa pipì: pochissima. * Cosa succede? Che storia è questa? Woody: dentro gabbia? Perché? Tutto: cominciato tre giorni fa. Pomeriggio pieno di sole. Sdraiato vicino a tenda, Woody: tiene osso preferito in bocca e, con occhi quasi chiusi, guarda gru altissime fuori da finestra, quando suona musica di porta chiamata: Campanello. Woody: subito sveglio. Campanello: suona ancora. Poi qualcuno: picchia forte contro porta. and circles around Owner, and jumps in her arms, and, hugging tight as leash, Woody and owner: roll on floor because: big joy of being together still. Roll, roll, roll, not caring about hallway plant that falls on floor, and when Owner’s Mom Mrs Louise: comes visit, every time she says: I don’t get why this Ficus is getting so crooked, are you watering it too much, maybe? Sometimes Owner: leaves Woody at home for long time. All night even. Then, when comes back, Woody, by accident: pees on floor. Owner puts hands on cheeks and says: Oh no, Woody, what are you doing on grandma’s carpet, did my sweetie get too excited? Woody: lowers head. With eyes on wet spot, woofs soft. No excited, Woody: happy, so much. But now Woody: no happy so much. Woody: happy almost nothing. Three days in cage. Three days without Owner. With head on paws, Woody: looks at bars, licks rust and waits. Waits, and hopes that Owner: comes back. Come back, Owner, please. Woody: swears he pees: very little. * What’s happening? What’s this about? Woody: in cage? Why? Everything: started three days ago. Very sunny afternoon. Lying down near curtain, Woody: has favourite bone in mouth and, with eyes half-closed, looks at very tall cranes outside window, when door calling music rings: doorbell. Woody: wakes up right away. Doorbell: rings again. Then someone: bangs loud on door. At home, there are Owner and Owner’s Mom Mrs Louise. They look at door, then look at clock on wall, then look at door again. Owner’s Mom Mrs Louise: sighs and gets up. Squeezes Owner’s shoulder and goes open door. Outside, on doormat with written OMG, it’s you again?, 20 Dentro casa, ci sono Padrona e Mamma Di Padrona Signora Luisa. Guardano porta, poi guardano orologio su muro, poi guardano ancora porta. Mamma Di Padrona Signora Luisa: fa sospiro e si alza. Stringe spalla di Padrona e va a aprire porta. Fuori, sopra zerbino con scritta Oddio, ancora tu?, ci sono due uomini. Giacca blu, pantaloni blu, cappellino blu: uguali. Solo altezza: diversa. Uomo a destra: alto alto. Uomo a sinistra: basso basso. Uomo Alto: tocca biglietto con sua fotografia appeso a tasca di giacca e dice: Siamo qui per il cane. Uomo Basso: tocca biglietto con sua fotografia appeso a tasca di giacca e dice: Un cane basenji. Uomo Alto dice: Un basenji di tre anni. Uomo Basso dice: Tre anni più o meno. Uomo Alto: mette mano sopra braccio di Uomo Basso e dice: Di colore arancione. Uomo Basso: toglie mano di Uomo Alto da braccio e dice: Con una macchia bianca sul muso. Uomo Alto: si volta verso Uomo Basso e dice: La vuoi far finita? Uomo Basso: si volta verso Uomo Alto e dice: Falla finita tu, non sei mica il capo. Intanto, Woody pensa: Cane? Basenji? Tre anni? Woody: abbaia. Eccomi! Padrona dice: Buono, Woody, buono. Mamma Di Padrona Signora Luisa dice: È lui, si chiama Woody. Woody: abbaia ancora. Piacere, Woody! (In parentesi, dicono che cane basenji: incapace di abbaiare. Bugia!) Ma Uomini Blu: non fanno piega. Entrano dentro casa senza: carezze, senza: Ciao Woody, senza: Ma che bel cagnolone che sei. Uomini Blu: maleducazione grandissima. Sicuro: mai fatto Corso Intensivo di Addestramento di Signor Piero (Dal 1982 al Servizio del Tuo Cane). Guardano Woody, fanno sì con la testa, poi Uomo Basso: infila guanti mentre Uomo Alto: apre borsa e tira fuori bicchiere pieno di buchi. Padrona dice: Non c’è bisogno di mettergli la museruola. there are two men. Blue jacket, blue pants, blue hat: same. Only height: different. Man on the right: tall tall. Man on the left: short short. Tall Man: touches paper with his photo hanged on jacket pocket and says: We’re here for the dog. Short Man: touches card with his photo on jacket pocket and says: A basenji dog. Tall Man says: A three-year-old basenji. Short Man says: Almost three. Tall Man: puts hand on Short Man’s arm and says: Orange-coloured. Short Man: takes Tall Man’s hand off his arm and says: With a white spot on his snout. Tall Man: turns to Short Man and says: Would you shut up? Short Man: turns to Tall Man and says: You shut up, you’re not the boss here. In the meantime, Woody thinks: Dog? Basenji? Three old? Woody: barks. Here I am! Owner says: Quiet Woody, be good. Owner’s Mom Mrs Louise says: That’s him, his name is Woody. Woody: barks again. Nice to meet you, I Woody! (by the way, people say basenji dog: can’t bark. Lies!) But Blue Men: don’t bat eye. Come inside home with no: scritches, no: Hi Woody, no: What a good boy. Blue Men: rude so much. For sure: never went to Mr Pete’s Intensive Dog Training Course (Since 1982 at Your Dog’s Service). They look at Woody, nod, then Short Man: puts on gloves while Tall Man: opens bag and pulls out cup whit lots of holes. Owner says: There’s no need for a muzzle. Short Man says: That’s exactly what we need, and you’re the one who should have put it on the dog, to be precise. Then he bends, pushes glass with holes hard on Woody’s mouth and tights small belt behind his ears. Woody: shakes head very hard because: what’s cup on mouth for? Owner: reaches hand out to help Woody take cup off but Owner’s Mom Mrs Louise: stops Owner’s hand and says: Do you really have to? I swear he’s very good. 21 Uomo Basso dice: E invece c’è bisogno e, se proprio volessimo essere fiscali, avrebbe dovuto mettergliela lei. Poi si piega, spinge forte bicchiere con buchi su bocca di Woody e stringe piccola cintura dietro orecchie. Woody: scuote testa fortissimo perché: cosa è questa cosa di legare bicchieri su bocca? Padrona: allunga mano per aiutare Woody a togliere bicchiere ma Mamma Di Padrona Signora Luisa: blocca braccio di Padrona e dice a Uomini Blu: È proprio necessario? Vi assicuro che è buonissimo. Uomo Basso dice: Signora, non siamo noi a stabilire le regole, ci dicono di fare una cosa, la facciamo, più semplice di così... Padrona dice: Dove lo portate ora? Quando posso venire a trovarlo? Uomo Alto dice: Guardi, non c’è bisogno di agitarsi, trova tutto scritto nel provvedimento. Antonio, passa una copia dell’ordinanza alla signorina. Uomo Basso: mette mano dentro tasca di giacca e tira fuori due fogli e una penna. Poi dice: Allora, questo rimane a lei, qui invece avrei bisogno di una firma leggibile. Padrona: prende penna, ma non firma. Stringe forte penna dentro pugno, stringe e dice: Non ha fatto niente di male, niente. Uomo Alto dice: Quello che ha fatto o non ha fatto non sta a noi giudicarlo, a ognuno il suo mestiere, per cui se ora è così gentile da mettere una firma, ce lo portiamo via e togliamo il disturbo. Ma Padrona: non mette firma. Padrona: gira schiena e butta penna su pavimento. Allora Mamma Di Padrona Signora Luisa: corre a raccogliere penna, fa segno veloce su foglio, poi abbraccia spalle di Padrona che tiene mani su faccia e dice ancora: Non ha fatto niente di male. Woody: prova a liberarsi, prova a abbaiare per dire: Padrona, cosa c’è?, non fare così, sorridi, andiamo a giocare, andiamo a mangiare, andiamo a dormire, non essere triste, Woody è qui, ma Uomo Basso: tira guinzaglio e trascina Woody fuori di casa, fino dentro a ascensore, senza che Woody: può fare niente, e, improvvisamente, porte di ascensore: sono chiuse, e nella testa di Woody c’è confusione, confusione grandissima – Cosa succede? Chi sono queste persone? Perché fanno così? – e quando Uomo Alto: apre porte di ascensore e dice: Muovi il culo, Woody: no, non muove niente, anzi, tutto contrario: rimane fermo, schiacciato contro specchio di Short Man says: Ma’am, we don’t make the rules, they tell us what to do and we do it, simple as that... Owner says: Where are you taking him? When can I visit him? Tall Man says: Look, there’s no need to get flustered, everything’s in the proceeding. Anthony, give the Miss a copy of the papers. Short Man: puts hand in jacket pocket and takes out two papers and pen. Then says: Here you go, this is your copy, and I’ll need a legible signature right here. Owner: takes pen but no signature. Holds pen tight in hand and says: He did nothing wrong, nothing. Tall Man says: What he did or did not do, that’s not for us to judge, each man to his own trade, so if you might be so kind to sign now, we’ll take the dog and be on our way. But Owner: no signature. Owner: turns back and throws pen on floor. Then Owner’s Mom Mrs Louise: runs to pick up pen, does fast mark on paper, then hugs Owner’s shoulders, who is with hands on face and says again: He did nothing wrong. Woody: tries to free himself, tries to bark to say: Owner, what’s wrong? don’t be like that, smile, let’s go play, let’s go eat, let’s go sleep, don’t be sad, Woody is here, but Short Man: pulls leash and drags Woody outside home, inside elevator, and Woody: can’t do anything about it and, suddenly, elevator doors: are closed, and in Woody’s head is much confusion, very great confusion – What happened? Who are these people? Why are they doing this? – and when Tall Man: opens elevator doors says: Move your ass, Woody: no, move nothing, on the contrary: stays still, pressed against elevator mirror, fixed paws and head turned because Woody: doesn’t want to go outside, doesn’t want to go away, wants to stay with Owner, but Short Man: doesn’t agree, and pulls leash, pulls strong as to tear head off, and Woody: tries to resist with all his strength, but can’t, and slides a little on floor, and Short Man: pulls even stronger, and Woody: slides a little more, pull and slide, pull and slide, till Tall Man: blows loud and says: I’m sick of your shit, takes hat off head and hits Woody’s snout with hat, one time, two times, three times, while with foot pushes Woody down stairs, on street, 22 ascensore, con zampe immobili e testa girata, perché Woody: non vuole uscire, non vuole andare via, vuole stare con Padrona, ma Uomo Basso: no d’accordo, e tira guinzaglio, tira forte come per strappare via testa, e Woody: cerca di resistere con tutte sue forze, ma non riesce, e striscia un pochino su pavimento, e allora Uomo Basso: tira ancora più forte, e Woody: striscia ancora un pochino, tira e striscia, tira e striscia, fino a che Uomo Alto: soffia forte e dice: Adesso hai veramente rotto le palle, poi si toglie cappellino da testa e con cappellino colpisce Woody su muso, una volta, due volte, tre volte, mentre con piede spinge Woody giù da scale, in strada, dentro furgone, e da finestrino di furgone che va veloce, Woody: vede casa di Padrona lontana, poi: più lontana, poi: lontanissima, poi: scomparsa. Woody: triste. Andato via senza salutare. Scusa Padrona, ma con bicchiere su bocca: difficilissimo salutare. inside truck, and from very fast truck’s window, Woody: sees Owner’s home far, then: more far, then: far so much, then: disappears. Woody: sad. Went away without saying goodbye. Sorry Owner, but with cup on mouth: very difficult saying goodbye. 23 Student Number 21330102 Text Number 4 Source Text Target Text Title Dracula Title Dracula Year Published 1897 Author Bram Stoker Language English Language Italian Word Count 1891 Word Count 1533 Description of Source Text • understanding of source text • knowledge of genre within source contexts • situation of source text familiarity with the formal features of a text (language variation(s), register, dialect) (200 words max) Dracula is a Fin de Siècle gothic novel. Halberstam (1993, 339) defines gothic as a genre describing ‘a discursive strategy which produces monsters as a kind of temporary but influential response to social, political and sexual problems.’ In the case of Dracula there are multiple interpretations for what the monster symbolizes, all converging onto his otherness: ‘Dracula creeps “facedown” along the wall of the very “fortress of identity”; he is the boundary, he is the one who crosses, and the one who knows the other side’ (Halberstam, 1993, 335). As Ferguson (ibid., 231) describes, in those years English was becoming the new world language and with its spread came the concern it could become corrupted, through the formation of nonstandard variations (ibid., 232-233): Dracula’s disruption of norms is represented in the novel by his strong desire to speak perfect English but his ‘utterly unidiomatic way’ of speaking it (ibid., 238). Even though it is a diary entry, the overall register is formal, with very detailed descriptions and long sentences (38/98 of the sentences in the excerpt are above 20 words, about 40%). Strategy • identification of translation problems • knowledge of genre within target context and situation of target text TT will be published by Edizioni Lapis in the Classici series: translations and retellings of classics aimed at a young audience (https://www.edizionilapis.it/). My target audience will be 7-8 years old readers. • Children tend to avoid books with slower narrative pace (Castelli and Dotta 2012, 8). Therefore, I will: - omit reiterations (e.g., ‘clad in black from head to foot, without a single speck of colour about him anywhere’) https://www.edizionilapis.it/ 24 • justification of translation production of genre for target context (200 words max) - simplify the description of the outdoors: the action is mostly set indoors - using more verbs and active constructions (e.g., ST: ‘the clanking of massive bolts’ TT: ‘(sentii) dei chiavistelli sferragliare’ [(I heard) bolts clanking]). - split long sentences • Ali (2017, 135) analysed best-selling Italian children books Geronimo Stilton: the lexicon is complex and varied. To align the text with the target market I will employ both high and everyday register words (e.g. ‘sinistra’ [sinister], ‘pizzicotto’ [pinch]). As explained by Stoodt (1996, 39) manner of speaking is used by authors to help readers understand characters better. Therefore, I will preserve Dracula’s characterization by translating his dialogue word for word, keeping the same punctuation, to transfer his outlandish speech (e.g. ST l.68: ‘I am Dracula[…] house.’ TT l.53: ‘Sono Dracula […] dimora’). Critical Reflection • textual analysis (200 words max) I asked a children’s literature expert to read the TT. The choice of cutting passages and keeping the sentences short got positive feedback, since it fits a child reader’s attention-span better than longer ones. Furthermore, being able to finish a chapter in a short amount of time would keep their motivation up throughout the book and encourage them to finish it. The high-register lexicon was concerning to me, as I worried it could be too difficult for my TA’s age group. The expert reassured me that it was still comprehensible in context and was deemed stimulating: it could help the children enrich their vocabulary in the long run. Dracula’s speech successfully stood out as awkward, and even suspicious. This feedback made me realize this could be a problematic aspect in a children’s book: the implication that someone with a peculiar way of speaking is suspicious and a danger to the protagonist, could carry a wrong message and encourage discrimination against people speaking non-standard English. This could be avoided by standardizing the Count’s language and syntax, at the expense of characterization. Works Cited Castelli, A. and Dotta, O. 2012. Il gatto ha ancora gli stivali? Guida ai classici della letteratura per l’infanzia. Edizioni Centro didattico cantonale. Bellinzona. 25 • use of sources and reference material Edizioni Lapis: https://www.edizionilapis.it/ Ferguson, C. 2004. Nonstandard Language and the Cultural Stakes of Stoker’s ‘Dracula’. ELH 71, no. 1: 229–49. http://www.jstor.org/stable/30029928 Halberstam, J. 1993. Technologies of Monstrosity: Bram Stoker’s ‘Dracula’. Victorian Studies 36, no. 3: 333–52. http://www.jstor.org/stable/3828327 Mahmoud Abdelmontaleb Ali, S. 2017. L’italiano per l’infanzia dal 2000 fino ai nostri giorni. Il caso Geronimo Stilton. Università degli studi di Cagliari. http://hdl.handle.net/11584/249647 Stoodt, B. 1996. Children’s Literature: discovery for a lifetime. Macmillian Education Australia. Melbourne. Australia. https://www.edizionilapis.it/ http://www.jstor.org/stable/30029928 http://www.jstor.org/stable/3828327 http://hdl.handle.net/11584/249647 26 Source Text Dracula Target Text Dracula CHAPTER II JONATHAN HARKER'S JOURNAL (continued) 5 May -- I must have been asleep, for certainly if I had been fully awake I must have noticed the approach of such a remarkable place. In the gloom the courtyard looked of considerable size, and as several dark ways led from it under great round arches, it perhaps seemed bigger than it really is. I have not yet been able to see it by daylight. When the calèche stopped, the driver jumped down and held out his hand to assist me to alight. Again I could not but notice his prodigious strength. His hand actually seemed like a steel vice that could have crushed mine if he had chosen. Then he took out my traps, and placed them on the ground beside me as I stood close to a great door, old and studded with large iron nails, and set in a projecting doorway of massive stone. I could see even in the dim light that the stone was massively carved, but that the carving had been much worn by time and weather. As I stood, the driver jumped again into his seat and shook the reins; the horses started 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 CAPITOLO II DIARIO DI JONATHAN HARKER (continuazione) 5 Maggio – Dovevo essermi assopito, perché se fossi stato sveglio avrei senza dubbio notato l’insolito luogo al quale ci stavamo avvicinando. Il cortile pareva enorme avvolto nell’oscurità, ma probabilmente era più piccolo di quanto sembrasse. Non ho ancora avuto l’occasione di vederlo alla luce del giorno. Una volta fermato il calesse, il conducente saltò giù e mi porse la mano per aiutarmi a scendere. Di nuovo non potei fare a meno di notare quanto fosse forte: la sua mano era una morsa d’acciaio che avrebbe potuto tranquillamente rompere la mia, se avesse voluto. Scaricò i miei bagagli e li posò a terra accanto a me: ero in piedi davanti la grande vecchia porta che dava su un corridoio di pietra massiccia. Anche se la luce era fioca, si vedeva che la pietra aveva delle incisioni, che però erano state consumate dal tempo. Il conducente saltò di nuovo sul suo sedile e scosse le redini: i cavalli scattarono in avanti e scomparvero insieme al carro nell’oscurità. Non sapendo cosa fare, rimasi immobile dov’ero. Non c’era traccia né di un campanello né di un battiporta, e certamente la mia voce non sarebbe potuta penetrare attraverso queste minacciose mura e tenebrose finestre. 27 forward, and trap and all disappeared down one of the dark openings. I stood in silence where I was, for I did not know what to do. Of bell or knocker there was no sign; through these frowning walls and dark window openings it was not likely that my voice could penetrate. The time I waited seemed endless, and I felt doubts and fears crowding upon me. What sort of place had I come to, and among what kind of people? What sort of grim adventure was it on which I had embarked? Was this a customary incident in the life of a solicitor's clerk sent out to explain the purchase of a London estate to a foreigner? Solicitor's clerk! Mina would not like that. Solicitor--for just before leaving London I got word that my examination was successful; and I am now a full-blown solicitor! I began to rub my eyes and pinch myself to see if I were awake. It all seemed like a horrible nightmare to me, and I expected that I should suddenly awake, and find myself at home, with the dawn struggling in through the windows, as I had now and again felt in the morning after a day of overwork. But my flesh answered the pinching test, and my eyes were not to be deceived. I was indeed awake and among the Carpathians. All I could do now was to be patient, and to wait the coming of the morning. Just as I had come to this conclusion I heard a heavy step approaching behind the great door, and saw through the chinks the 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 Mi sembrò di aspettare all’infinito e sentivo dubbi e paure affollarsi nella mia mente: in che razza di posto ero finito? E in mezzo a che tipo di gente? In quale sinistra avventura mi ero andato a cacciare? Era normale per un assistente legale trovarsi in certe situazioni per illustrare l’acquisto di un palazzo a Londra a uno straniero? “Assistente legale”. A Mina non sarebbe piaciuto sentirmelo dire, in quanto ero a tutti gli effetti un legale: poco prima di partire da Londra mi avevano confermato che avevo passato l’esame, quindi ero un legale in piena regola! Mi strofinai gli occhi e mi diedi un pizzicotto per verificare che fossi sveglio. Mi sembrava tutto un terribile incubo, e mi aspettavo di svegliarmi da un momento all’altro e ritrovarmi a casa, col sole che sbucava da dietro le tende. Ma i miei occhi non si ingannavano e sentii tutto il dolore del pizzico. Ero davvero sveglio e nel mezzo dei Carpazi. Tutto quello che potevo fare era portare pazienza e aspettare che facesse giorno. Appena giunsi a questa conclusione, sentii dei passi appropinquarsi alla grande porta e vidi avvicinarsi una luce attraverso le fessure. Poi sentii delle catene sbatacchiare, dei chiavistelli sferragliare, e una chiave girare nella serratura cigolante. Infine la grande porta si aprì. Dietro di essa c’era un uomo alto e attempato, con il viso ben rasato, ad eccezione dei lunghi baffi bianchi, e vestito di nero dalla testa ai piedi. Teneva in mano una lampada d’argento antica, la cui fiamma proiettava sui muri lunghe ombre tremolanti. L’anziano signore mi fece gentilmente cenno di entrare e in perfetto inglese, ma con uno strano accento, disse: 28 gleam of a coming light. Then there was the sound of rattling chains and the clanking of massive bolts drawn back. A key was turned with the loud grating noise of long disuse, and the great door swung back. Within, stood a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere. He held in his hand an antique silver lamp, in which the flame burned without chimney or globe of any kind, throwing long quivering shadows as it flickered in the draught of the open door. The old man motioned me in with his right hand with a courtly gesture, saying in excellent English, but with a strange intonation: "Welcome to my house! Enter freely and of your own will!" He made no motion of stepping to meet me, but stood like a statue, as though his gesture of welcome had fixed him into stone. The instant, however, that I had stepped over the threshold, he moved impulsively forward, and holding out his hand grasped mine with a strength which made me wince, an effect which was not lessened by the fact that it seemed as cold as ice, more like the hand of a dead than a living man. Again he said: "Welcome to my house. Come freely. Go safely; and leave something of the happiness you bring!" The strength of the handshake was so much akin to that which I had noticed in the 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 “Benvenuto nella mia dimora! Entri liberamente e di sua volontà!” Non avanzò per venirmi incontro, rimase immobile come una statua. Tuttavia, nell’istante in cui varcai la soglia, si catapultò in avanti a braccio teso per stringermi la mano, con una forza tale da farmi sussultare. La sua mano era ghiacciata, più simile a quella di un cadavere che a quella di una persona viva. Di nuovo disse: “Benvenuto nella mia dimora. Venga liberamente. Vada sano e salvo; e lasci un po’ della felicità che reca con sé!” La potenza della stretta di mano mi ricordò subito quella del conducente, che non avevo visto in faccia, tanto da farmi dubitare che non fossero la stessa persona. Quindi domandai incerto: “Il Conte Dracula?” Lui fece un piccolo inchino e rispose: “Sono Dracula; e le do il benvenuto, Signor Harker, nella mia dimora. Venga dentro, l’aria notturna è gelida, e lei avrà sicuramente bisogno di mangiare e riposare”. Nel frattempo fissò la lampada al muro e uscì fuori per prendere i miei bagagli. Prima che potessi fermarlo li portò dentro, e alle mie proteste rispose: “No, signore, voi siete mio ospite. È tardi, e la servitù non è a disposizione. Mi lasci badare a lei personalmente”. Insistette a portare lui le mie valigie lungo il corridoio, su per una grande scala a chiocciola e lungo un altro largo corridoio di pietra, nel quale i nostri passi risuonavano rumorosamente. Giunti alla fine del corridoio vi era una porta che, per la 29 driver, whose face I had not seen, that for a moment I doubted if it were not the same person to whom I was speaking; so to make sure, I said interrogatively: "Count Dracula?" He bowed in a courtly way as he replied:-- "I am Dracula; and I bid you welcome, Mr. Harker, to my house. Come in, the night air is chill, and you must need to eat and rest." As he was speaking, he put the lamp on a bracket on the wall, and stepping out, took my luggage; he had carried it in before I could forestall him. I protested but he insisted: "Nay, sir, you are my guest. It is late, and my people are not available. Let me see to your comfort myself." He insisted on carrying my traps along the passage, and then up a great winding stair, and along another great passage, on whose stone floor our steps rang heavily. At the end of this he threw open a heavy door, and I rejoiced to see within a well-lit room in which a table was spread for supper, and on whose mighty hearth a great fire of logs, freshly replenished, flamed and flared. The Count halted, putting down my bags, closed the door, and crossing the room, opened another door, which led into a small octagonal room lit by a single lamp, and seemingly without a window of any sort. Passing through this, he opened another door, and motioned me to enter. It was a welcome sight; for here was a great bedroom well lighted and warmed with another log fire, also 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 mia gioia, si apriva su una stanza ben illuminata, con un tavolo apparecchiato per la cena e un camino caldo e scoppiettante. Il Conte si fermò, posò le mie valigie e chiuse la porta. Poi attraversò la stanza e aprì un’altra porta che dava su una piccola stanza ottagonale senza finestre, illuminata solo da una lampada. All’interno vi era un’altra porta: lui la aprì e mi fece cenno di accomodarmi. Era una camera da letto, anch’essa ben illuminata e riscaldata da un camino appena attizzato. Il Conte portò dentro i miei bagagli e si avviò alla porta. Prima di chiuderla disse: “Avrà bisogno, dopo il suo viaggio, di rinfrescarsi e cambiarsi. Spero trovi tutto quello che desidera. Quando sarà pronto, venga nell’altra stanza, dove troverà la cena pronta.” La luce, il tepore e la gentile accoglienza del Conte sembravano aver dissipato tutti i miei dubbi e paure. Senza più quei pensieri per la testa, mi resi conto che ero affamato, perciò mi sistemai velocemente e tornai nella prima stanza. Trovai la cena pronta in tavola, e il mio ospite, in piedi affianco al camino, mi fece cenno di sedermi a tavola e disse: “La prego, si sieda e mangi quanto le aggrada. Mi scuserà, spero, se non mi unisco a lei; ma ho già desinato, e di solito non ceno.” Gli porsi la lettera che il Signor Hawkins mi aveva affidato: lui la aprì e la lesse con sguardo serio. Poi sorridendo amabilmente me la passò per 30 added to but lately, for the top logs were fresh, which sent a hollow roar up the wide chimney. The Count himself left my luggage inside and withdrew, saying, before he closed the door: "You will need, after your journey, to refresh yourself by making your toilet. I trust you will find all you wish. When you are ready, come into the other room, where you will find your supper prepared." The light and warmth and the Count's courteous welcome seemed to have dissipated all my doubts and fears. Having then reached my normal state, I discovered that I was half famished with hunger; so making a hasty toilet, I went into the other room. I found supper already laid out. My host, who stood on one side of the great fireplace, leaning against the stonework, made a graceful wave of his hand to the table, and said: "I pray you, be seated and sup how you please. You will, I trust, excuse me that I do not join you; but I have dined already, and I do not sup." I handed to him the sealed letter which Mr. Hawkins had entrusted to me. He opened it and read it gravely; then, with a charming smile, he handed it to me to read. One passage of it, at least, gave me a thrill of pleasure. 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 farmela leggere. Un passo in particolare mi diede un brivido di soddisfazione. “Purtroppo un attacco di gotta, un disturbo che mi affligge spesso, mi impedirà di viaggiare per qualche tempo, ma sono felice di potermi avvalere di un valido sostituto, in cui ripongo tutta la fiducia possibile. Si tratta di un giovanotto pieno di energie e talento, a suo modo, e di indole assolutamente leale. È discreto ed è cresciuto al mio servizio. Sarà a Sua disposizione durante tutto il suo soggiorno, e seguirà in tutto e per tutto le sue istruzioni.” Il Conte avanzò verso il tavolo e scoprì uno dei piatti, un eccellente pollo arrosto sul quale mi fiondai immediatamente. Abbinato a del formaggio, un’insalata e due bicchieri di Tokaj, ottimo vino ungherese, mi saziò. Durante la cena il Conte mi fece moltissime domande riguardo il mio viaggio e a poco a poco gli raccontai la mia esperienza. A quel punto avevo finito di mangiare e, su invito del mio ospite, mi ero spostato su una sedia accanto al fuoco. Mi offrì un sigaro, scusandosi se non si univa a me in quanto non fumava. Fu allora che ebbi l’opportunità di osservarlo bene e trovo abbia una fisionomia molto particolare. Il suo viso era marcatamente aquilino, con un naso ricurvo e sottile, e narici estremamente arcuate. La fronte era alta e sporgente e i capelli radi alle tempie ma folti sul resto della testa. Le fitte sopracciglia, due cespugli 31 "I must regret that an attack of gout, from which malady I am a constant sufferer, forbids absolutely any travelling on my part for some time to come; but I am happy to say I can send a sufficient substitute, one in whom I have every possible confidence. He is a young man, full of energy and talent in his own way, and of a very faithful disposition. He is discreet and silent, and has grown into manhood in my service. He shall be ready to attend on you when you will during his stay, and shall take your instructions in all matters." The Count himself came forward and took off the cover of a dish, and I fell to at once on an excellent roast chicken. This, with some cheese and a salad and a bottle of old Tokay, of which I had two glasses, was my supper. During the time I was eating it the Count asked me many questions as to my journey, and I told him by degrees all I had experienced. By this time I had finished my supper, and by my host's desire had drawn up a chair by the fire and begun to smoke a cigar which he offered me, at the same time excusing himself that he did not smoke. I had now an opportunity of observing him, and found him of a very marked physiognomy. His face was a strong -- a very strong -- aquiline, with high bridge of the thin nose and peculiarly arched nostrils; with lofty domed 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 di peli riccioluti, quasi si incontravano sopra il naso. La bocca, per quello che ho potuto veder spuntare da sotto i fitti baffi, era inflessibile e dall’espressione crudele. I denti erano inusualmente bianchi e affilati, e sporgevano da labbra stranamente rubiconde per un uomo della sua età. Per il resto, aveva le orecchie livide e molto appuntite, il mento largo e importante, e le guance spigolose e incavate. In generale risultava estremamente pallido. Fino ad allora mi era sembrato che, sul dorso, le sue mani fossero assai bianche e curate, ma vedendole più da vicino sembravano alquanto rozze, larghe e con dita tozze. Strano a dirsi, aveva dei peli al centro dei palmi. Le unghie erano lunghe e sottili, limate a punta affilata. Quando il Conte si avvicinò a me e le sue mani mi toccarono ebbi un tremito che non potei trattenere. Forse era il suo alito repellente a causarmi l’orribile senso di nausea che mio malgrado non riuscivo a nascondere. Il Conte, palesemente accortosi della mia reazione, si allontanò. Con una sorta di sorriso sinistro, che espose ancor di più i suoi denti, tornò a sedere all’altro lato del camino. Entrambi rimanemmo in silenzio per un po’, e guardando fuori dalla finestra vidi affiorare debolmente le prime luci dell’alba. Tutto sembrava stranamente immobile, ma ascoltando attentamente, udii molti lupi ululare nella valle sottostante. Gli occhi del Conte brillarono e disse: “Li ascolti, i figli della notte. Che musica!” Suppongo notò qualcosa di strano nella mia espressione, dunque aggiunse: 32 forehead, and hair growing scantily round the temples but profusely elsewhere. His eyebrows were very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion. The mouth, so far as I could see it under the heavy moustache, was fixed and rather cruel-looking, with peculiarly sharp white teeth. These protruded over the lips, whose remarkable ruddiness showed astonishing vitality in a man of his years. For the rest, his ears were pale, and at the tops extremely pointed. The chin was broad and strong, and the cheeks firm though thin. The general effect was one of extraordinary pallor. Hitherto I had noticed the backs of his hands as they lay on his knees in the firelight, and they had seemed rather white and fine; but seeing them now close to me, I could not but notice that they were rather coarse -- broad, with squat fingers. Strange to say, there were hairs in the centre of the palm. The nails were long and fine, and cut to a sharp point. As the Count leaned over me and his hands touched me, I could not repress a shudder. It may have been that his breath was rank, but a horrible feeling of nausea came over me, which, do what I would, I could not conceal. The Count, evidently noticing it, drew back; and with a grim sort of smile, which showed more than he had yet done his protuberant teeth, sat himself down again on his own side of the fireplace. We were both silent for a while; and as I looked towards the window I 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 “Ah, signore, voi abitanti di città non potete comprendere i sentimenti di un cacciatore.” Poi si alzò e disse: “Deve essere stanco. La sua camera è pronta, e domani potrà dormire fin quando desidera. Io dovrò assentarmi fino al pomeriggio, dunque dorma bene e sogni bene!” Con un inchino cortese mi aprì la porta che dava sulla stanza ottagonale, e io mi diressi nella mia camera… 33 saw the first dim streak of the coming dawn. There seemed a strange stillness over everything; but as I listened I heard as if from down below in the valley the howling of many wolves. The Count's eyes gleamed, and he said: "Listen to them -- the children of the night. What music they make!" Seeing, I suppose, some expression in my face strange to him, he added: "Ah, sir, you dwellers in the city cannot enter into the feelings of the hunter." Then he rose and said: "But you must be tired. Your bedroom is all ready, and tomorrow you shall sleep as late as you will. I have to be away till the afternoon, so sleep well and dream well!" With a courteous bow, he opened for me himself the door to the octagonal room, and I entered my bedroom... 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 34 Student Number 21330102 Text Number 5 Source Text Target Text Title Toto e la sauna Title Toto and the seana Year Published 2018 Author Gigi Proietti Language Italian Language English Word Count 769 Word Count 865 Description of Source Text • understanding of source text • knowledge of genre within source contexts • situation of source text familiarity with the formal features of a text (language variation(s), register, dialect) (200 words max) The ST is a transcription of a stand-up comedy performance by Italian actor Gigi Proietti, telling a story about a friend of his to the audience. The register is informal and colloquial, and the language is slightly dialectal. Proietti was a Roman actor. The performance is not in full Roman dialect but shows some influences (e.g., ‘me so’, ‘sti’, ‘te’). However, since ‘Roman dialect is very close to Italian, so much so that it is difficult to identify it as a dialect’ (Bresin, Hajek, Kretzenbacher 2014), the skit was accessible to an Italian speaking audience: it was aired on national public television (https://www.youtube.com/watch?v=b99KaCZbi6c&t=4s) without any subtitling, which is not the case for other dialects broadcasted on national television, e.g. neapolitan dialect in tv-show Gomorra (D’Onghia 2018, 42). The main features of the text are: • purposeful mispronunciation and misconjugation of verbs (e.g. ‘anniete’ for ‘andò’ [(he) went]; ‘cominciattimo’ for ‘cominciammo’ [(we) started]) and nouns (e.g., ‘asciuttamano’ for ‘asciugamano’ [towel]) • repetition of words and catchphrases (e.g., ‘dico dico dico’ [(I) say, say say], ‘Che d’è, che non è. De che? E che me lo chiedi a me?’ [What is, what isn’t. What? Are you asking me?]) • nonsensical rambling (e.g. 00:02:21:78 to 00:02:44:19) https://www.youtube.com/watch?v=b99KaCZbi6c&t=4s 35 Strategy • identification of translation problems • knowledge of genre within target context and situation of target text • justification of translation production of genre for target context (200 words max) The TT will serve as English subtitles for the source video in a PhD research testing how to translate comedy, with a special focus on translating purposeful mispronunciation. For this purpose, I will: • translate all the intentionally misconjugated verbs in ST (e.g., anniete, cominciattimo) by applying vowel changes to the corresponding verbs’ radical in the TT to achieve comedic effect, as done for example in early Spanish drama (Chasca 1946, 335). I will follow this scheme, unless the pre-established vowel-change leads to a semantic word (e.g., ‘were’ -> ‘ware’; ‘went’ -> ‘want’) • keep the repetition of words and catchphrases (e.g., 00:03:07:29) • reproduce stuttering sequences focusing on sound (e.g., nickname -> nickm-, kinim- ....) • mimic the mispronunciation of ‘sauna’ and ‘towel’ following the vowel-change-scheme Aligning with the ST, I will use an informal register with contractions (e.g., lemme, gonna), but standardizing dialect since it is not a prominent feature. From 00:02:21:78 to 00:02:44:19 Proietti rambles referencing idiomatic expressions revolving around donkeys. Looking at The Oxford Dictionary of English Idioms (https://www.oxfordreference.com/view/10.1093/acref/9780199543793.001.0001/acref-9780199543793, screenshots below), idioms about donkeys are less frequent in the TL (three entries), so I will employ idioms about pigs instead (eleven entries), to keep the farm animal analogy. https://www.oxfordreference.com/view/10.1093/acref/9780199543793.001.0001/acref-9780199543793 36 Critical Reflection • textual analysis (200 words max) The vowel-change mechanism worked well in the translation process, but after I was done, I started to wonder if it accidentally resulted in a reference to a particular English accent. I asked an English native speaker to read the subtitles and she confirmed it was not reminiscent of any accent, except for ‘wint’ (first occurrence at 00:03:01:87) which could be connected to Scottish. To avoid this issue but still convey the mispronunciation-induced comedy of the ST, another system could be employed in the translation process, for example consonant-shifts (e.g., wemt for ‘went’) or misconjugation of irregular verbs (e.g., goed for ‘went’). I tested the subtitles on a group of English speakers, both native and non-native. The general reaction was positive: the whole vowel-change system was unsettling at first but not overly-distracting, they could still follow the story and laugh at the jokes. However, some non-native speakers were confused by the references to pig-related English idioms, particularly ‘pigs in blankets’ (00:02:26:30) and ‘lipstick on a pig’ (00:02:33:76). Even though these expressions are part of a nonsensical rambling, different better-known expressions could be used to avoid this effect. Works Cited • use of sources and reference material https://www.youtube.com/watch?v=b99KaCZbi6c&t=4s Bresin, A., Hajek, J., & Kretzenbacher, H. L. 2014. La percezione dell’uso dei dialetti a Roma e provincia. Published in Pîrvu, Elena (ed.), La lingua e la letteratura italiana in prospettiva sincronica e diacronica. Atti del VI Convegno internazionale di italianistica dell’Università di Craiova, 19-20 settembre 2014. Florence: Cesati (Quaderni della rassegna; 105), 103-113. Chasca, E. 1946. The Phonology of the Speech of the Negroes in Early Spanish Drama. Hispanic Review 14, no. 4, 322–39. https://www.youtube.com/watch?v=b99KaCZbi6c&t=4s 37 https://doi.org/10.2307/470192 D’Onghia, L. 2018 Da quanto tempo gli italiani parlano italiano? Riflessioni sparse sulla questione dell’italofonia preunitaria. Published in: Trasversalità delle lingue e dell’analisi linguistica. Edited by Fiorentino G., Ricci C., Siekiera A. Firenze. Cesati. The Oxford Dictionary of English Idioms, edited by Ayto, John. 2009. Oxford University Press. https://www.oxfordreference.com/view/10.1093/acref/9780199543793.001.0001/acref-9780199543793 https://doi.org/10.2307/470192 https://www.oxfordreference.com/view/10.1093/acref/9780199543793.001.0001/acref-9780199543793 38 Source Text Toto e la sauna Target Text Toto and the seana (Espira rumorosamente) Ma... Ma s... Me so fatto na sauna. Aaaah! Te rimette al mondo... ...all'altro. Ma... faranno bene sti bagni turchi? N'amico mio c'è scomparso dentro. Se chiamava... St'amico mio se chiamava... (dal pubblico) Toto! Mo ce provo pure io a dillo. Se chiamava Toto. "Toto" che dice che è il dinimi- 00:00:36:11 00:00:40:39 00:00:45:35 00:00:52:02 00:00:59:82 00:01:13:02 00:01:17:73 00:01:21:78 00:01:24:10 00:01:28:41 00:01:33:89 00:01:35:52 00:01:39:65 00:01:41:17 00:01:45:39 00:01:49:07 (Loudly exhales) I… I t… I took a seana. Aaaah! Puts you back in the world... the Other World. But… are these steam baths actually healthy? A friend of mine has disappeared in one of those. His name was... This friend of mine, his name was... (from the audience) Toto! Lemme try and say that too. His name was Toto. "Toto", which apparently it's a nickm- 39 il dinimimi- "Toto" che dice che è il dinimomi- il dinimoti- Ma tu guarda dopo la saùna che parola me vado a sceglie. "Toto" Che dice che è- "Toto" dice che è il diminutivo de Gerardo. "Ardo"?! No, dice "Toto". Oh, di' un po' come te pare. lo dico pe il bene tuo. Va a fa bene ai somari... E i somari che te danno la pelle del somaro per il bene tuo che te da i calci co la pelle co l'acqua del sapone del somaro che ce lascia lo zampino. Ma chi? 00:01:51:56 00:01:54:90 00:01:57:86 00:01:59:58 00:02:05:05 00:02:05:91 00:02:09:82 00:02:16:10 00:02:20:89 00:02:21:78 00:02:23:88 00:02:26:30 00:02:29:31 00:02:31:54 00:02:32:99 00:02:33:76 00:02:35:50 00:02:40:65 a kinim- "Toto" which apparently it's a kinman- a nickman- Oh dear, what a stupid word choice after a seana. "Toto" which apparently- "Toto" which apparently is a nickname for Gerardo. "Ardo" maybe?! No, apparently it's "Toto". Hey, do whatever you want. I'm saying it for your own good. That's what you get when you help pig-heads... And the pigs get in blankets for your own good flying with the blankets with lipstick on them of the curiosity that killed the pig. Who? 40 Il somaro? Beh fatto sta... Che d'è che non è... De che? E che me lo chiedi a me? Quel giorno me lo ricordo come se fo- Noi stavamio lì. Toto vine. Beh vinne mica anniete. Vinne. Come arriva ce fa dice dice dice... Toto, no? dice ce fa, no? Diceee... Toto, no? Appena arriva fa 00:02:44:19 00:02:48:19 00:02:49:59 00:02:50:70 00:02:51:75 00:02:55:45 00:02:58:47 00:03:00:51 00:03:01:87 00:03:04:13 00:03:05:10 00:03:07:29 00:03:08:61 00:03:09:65 00:03:10:69 00:03:11:82 00:03:12:73 The pig? So anyway the fact is... Anyway... What way? You ask me? I remember that day like it was yesterd- We wure there. Toto erreved. Well it's not like he wint he erreved. And as soon as he got there he goes like like like... Toto, right? like he goes, right? Liiiiike... Toto, right? As soon as he got there he goes 41 dice dice diceee... Ce fa, no? Aho, a Toto! Dice: "Giovanotti, mi accompagnate? Vado a fa la saùna" Ma non c'annà. Ma lassa perde. Ma chi te lo fa fa? Basta. De che? Eh “basta”. Ogni tanto quando uno racconta fa "basta". Basta. Lui invece cocciuto come un... Aho! Ma ndo siete annati? Avete fatto il giro eh? Da un discorso andando all'altro lui invece cocciuto ce volse andà. 00:03:15:05 00:03:17:91 00:03:19:13 00:03:20:90 00:03:34:44 00:03:27:19 00:03:29:80 00:03:33:07 00:03:36:07 00:03:37:20 00:03:38:66 00:03:42:17 00:03:43:38 00:03:47:04 00:03:50:29 00:04:03:36 00:04:07:34 00:04:09:67 like like liiiiiike... He goes, right? For goodness' sake, Toto! He goes like: "My dear fellas, do you want to come with me? I'm taking a seana" Nah, don't go there. Nah, forget about it. Nah, why even bother? Enough. Of what? Just "enough". Sometimes when you're telling a story you just go "enough". Enough. But he was just as stubborn as a… Hey! Where did you guys go? You turned around, huh? Jumping back to our subject he was too stubborn and ensested on going. 42 C'anniete. L'accompagnattimo. Come che fottimo davanti alla saùna Toto ce fa dice diceeee... Toto, no, ce fa dice diceee... Ogni volta glie prendeva così (canta in falsetto) Oh, a Toto?! Dice "Voi aspettateme qui Che fra menz'ora, tre quarti, risorto." Ma nun entrà. Ma lassa perde. Ma chi te lo fa fa? Basta. Che d'è che non è. 00:04:12:36 00:04:13:43 00:04:15:74 00:04:17:86 00:04:18:52 00:04:19:99 00:04:21:38 00:04:25:53 00:04:28:79 00:04:37:97 00:04:40:35 00:04:42:32 00:04:48:79 00:04:51:69 00:04:54:71 00:04:57:50 00:04:59:33 He wint. We wint with him. When we raeched the seana Toto goes like liiiiike... Toto, right, he goes like liiiike... He always got stuck like that (singing with high-pitched voice) Come on, Toto! He goes like: "You wait right here I'll axet the seana in half, three quarters of an hour." Nah, don't go in. Nah, forget about it. Nah, why even bother? Enough. Anyway. 43 Entrotte. Come stiete dentro- Come stiete dentro non stava più de fori. Perché? Perché era entrato. De fori c'eravamo rimasti noi perché eravamo rimasti fori. Ma si erimo entrati... Basta non voglio intatare. Che d'è che non è... De che? E che me lo chiedi sempre a me? A un certo punto comiciattimo a aspettà. Aspetta un'ora... Due, tre, quattro, cinque. Sortivano fori tutti Toto non sortiva fori! Pooorca va...! 00:05:01:95 00:05:07:14 00:05:13:70 00:05:15:88 00:05:18:00 00:05:20:85 00:05:23:37 00:05:25:86 00:05:27:00 00:05:29:29 00:05:31:50 00:05:32:33 00:05:34:64 00:05:37:85 00:05:39:64 00:05:42:47 00:05:46:85 00:05:50:56 He wint in. As soon as he stapped in- As soon as he stapped in he was no longer out. Why? Because he was in. We’re the ones out because we steyed out. If we wint in… Enough, I don't want to remble. So anyway... What way? You still asking me? After a while we weeted one hour... Two, three, four, five hours. Everyone was axeting the seana but Toto wasn’t! Holy co… 44 Pooorca...! A 'ncerto momento che d'è che non è... erano passate undici ore Faccio: "dico dico dico giovanotti io me comincio a preo... ...ccupà!" Ma nun te preoccupà. Ma lassa perde. Ma chi te lo fa fa? (dal pubblico): - Basta! Esatto! A un certo punto erano sortiti tutti. Esce fori il padrone della saùna quello grosso. Stava a chiude. Eh! Eh! 00:05:53:18 00:05:56:27 00:05:58:11 00:05:59:86 00:06:01:57 00:06:04:42 00:06:12:64 00:06:14:18 00:06:17:77 00:06:20:23 00:06:22:09 00:06:23:15 00:06:30:46 00:06:34:44 00:06:39:24 00:06:40:70 00:06:45:26 Hoooly… Then at some point anyway... eleven hours had passed. I go: "like like like fellas, I'm starting to get wo… …rried!" Nah, don't worry. Nah, forget about it. Nah, why even bother? (from the audience) Enough! Precisely! At one point everyone had axeted the seana. The owner too, the big guy. He was closing down. But! But! 45 Vado là, glie faccio dico dico dico: "e Toto?" Me fa, dice: "Chi?" "Toto, Toto, chi?" Me fa, dice: "E chi lo conosce?" Ah, quando te da i 50 Euri per entrare a fare la sauna... (dal pubblico): - lo conosci! E' quello che gl' ho detto pure io! Mo non lo conosci? Se non me lo levano dalle mani, che glie fo! Che glie fo! Ma lassa perde. Ma chi te lo fa fa? Quello te corca e via. Basta, ce fece: "Se volete ve apro entrate e cercatevelo da soli" Entramo, entramo, annamo apri 00:06:46:46 00:06:48:58 00:06:52:16 00:06:56:29 00:06:59:98 00:07:04:21 00:07:09:25 00:07:10:88 00:07:17:32 00:07:21:49 00:07:24:15 00:07:26:09 00:07:27:88 00:07:30:16 00:07:32:16 00:07:33:23 00:07:35:54 00:07:37:98 I go up to him, I go like, like, like: "what about Toto?" He goes like: "who?" "Toto, that's who!" He goes like: "and who's that?" Ha, when he pays you 50 euros to get in the seana... (from the audience) you know him! That's what I told him too! Now you don't know him? Get him away from me or I don't know what I'm gonna do! Get him away! Nah, forget about it. Nah, why even bother? He's gonna beat you to a pulp anyway. Enough, he goes: "If you fancy I'll open it up and you can look for him yourselves." Yeah, we're going in, come on open up 46 'a dente cariato, apri! Operse. Come ebbe oprito entrattimo. Come che fottimo dentro non stavamo più de fori. Come semo entrati cominciattimo tutti a cercà. Cerca de qua... Cerca de là... Cerca de sotto... Cerca, ovviamente, pure de sopra... Oh Toto non sortiva fora! Pooorca... Pooorca va... A un certo punto cercando me cascano l'occhi per terra. 00:07:40:13 00:07:41:62 00:07:44:32 00:07:47:46 00:07:48:78 00:07:50:44 00:07:52:41 00:07:55:65 00:07:58:95 00:08:00:21 00:08:03:03 00:08:05.30 00:08:07:61 00:08:12:37 00:08:15:14 00:08:17:93 00:08:19:70 you rotten tooth, open up! He upaned. As soon as he upaned we wint in. As soon as we stap in we’re no longer out. As soon as we’re in everyone sterted to look for him. Look over here... Look over there... Look down... And, goes without saying, look up... Well, Toto won't tirn up! Hooooly… Hooooooly co… While we’re looking for him I lay my eyes on the ground. 47 No non è che me cascano proprio. Guardo lì per terra! E chi ce stava lì per terra? (dal pubblico) Toto! Come Toto? Se c'era Toto che te la raccontavo a fa? Là per terra ce stava l'asciuttamano de Toto! Pooo..! Cominciammo a giraglie intorno tutti a fa "Pooo..." Pooo...! Pooo...! Pooo! Pooo! Pooo..! C'era pure Tito quello che stona. Faceva "Paaa...! Paaa..! Paaa..!" A Tito fai "po" pure te. Dice "Non lo so fa." Allora statte zitto Allora faccio, dico "Giovanotti" "Giovanotti io me dispiace ma io alzo" 00:08:22:03 00:08:25:94 00:08:35:03 00:08:36:93 00.08:38:84 00:08:43:00 00:08:47:84 00:08.49:01 00:08:51:33 00:08:53:02 00:08:54:10 00:08:55:14 00:08:56:98 00:08:58:60 00.09:01:10 00:09:03:00 00:09:06:00 00:09:09:25 No wait, I don't literally lay them on the ground. I just look down! And who do I see down there? (from the audience) Toto! What'd you mean Toto? If he was there, why would I be telling you the story? What I saw on the ground was Toto's tuwal! Hoooooly… We sterted circling around it everyone going "hooooly…" Hoooly! Hoooly! Hooo! Hooo! Hooo…! Tito the guy who's out of tune was there too. He goes "Huuu…! Huuu…! Huuu…!" Hey Tito, you must go "hooo" too. He goes: "I can't." Then shut up! So I go like "Fellas!" "Fellas I'm sorry but I have to lift it." 48 Ma non alzà. Ma lassa perde. Ma chi te lo fa fa? (dal pubblico) - Basta! Esatto. Volsi alzà. Me chinatti... Intrapresi un lembo dell'asciuttamano e senza portenz- e sento porten senza- e sempo porte- e tempo al tempo... e senzo portem- mortacci tui... E senza- Eeeh.... E tutt'a 'nbotto alzatti. 00:09:14:29 00:09:17:07 00:09:19:95 00:09:22:29 00:09:23:10 00:09:24:40 00:09:25:75 00:09:29:50 00:09:31:86 00:09:32:90 00:09:34:91 00:09:36:72 00:09:38:36 00:09:40:96 00:09:42:01 00:09:43:50 00:09:46:70 Nah, don't lift it. Nah, forget about it. Nah, why even bother? (from the audience) Enough! Precisely. I dacede to lift it. I buw down... I greb the hem of the tuwal and without frunther- and whoutit fur- and fithout wurthe- and whatever for... and outwith frunther- fuck it... And without- Uuuuh... And all of a sudden I laft it up. 49 Sotto all'asciuttamano non c'era rimasto niente soltanto un po' d'acquetta... Toto s'era liqueso! 00:09:47:89 00:09:51:60 00:09:55:10 There was nothing left underneath the tuwal just a little water... Toto lequefed! 50 Student Number 21330102 Text Number 6 Source Text Target Text Title Táin Bó Cúailnge (The Cattle Raid of Cooley) Title La battaglia dei tori Year Published 1969 Author Thomas Kinsella Language English Language Italian Word Count 505 Word Count 473 Description of Source Text • understanding of source text • knowledge of genre within source contexts • situation of source text familiarity with the formal features of a text (language variation(s), register, dialect) (200 words max) As described by Thomas Kinsella (1969, vii) ‘the Táin Bó Cúailnge, the prose epic which is the centre-piece of the Ulster cycle – and the oldest vernacular epic in Western literature – […] is the nearest approach to a great epic that Ireland has produced.’ The story dates back to Ireland’s oral tradition: its written form ‘has been preserved, more or less complete , in a score of manuscripts ranging in date from the beginning of the twelfth to the middle of the nineteenth century. [...] All of the extant manuscripts go back to versions which date from the seventh century or earlier’ (Dunn 1914, 6). The ST is an extract of Kinsella’s English translation revolving around the battle between two bulls. The language used is close to the original Irish but simple: by Kinsella’s own admission (1969, xi) the main purpose of his work was ‘to give a readable and living version of the story.’ The extract exemplifies one of the main elements of the Táin: the narration of an event which originates the topography of a given place, in this case ‘the wonderings of the mortally-wounded Donn Cuailnge around Ireland, naming the places as he goes.’ (Kinsella 1969, xiiii). 51 Strategy • identification of translation problems • knowledge of genre within target context and situation of target text • justification of translation production of genre for target context (200 words max) The TT will be recited during a guided tour in Rathcrogan, ‘a complex of ancient monuments in several townlands just north-west of the village of Tulsk in Co. Roscommon’ (Waddell 1983, 21) for high-school students, in front of Finnbennach’s statue, in Rathcrogan’s Heritage Centre & Café (see image from https://www.rathcroghan.ie/discover/gallery/). With these purpose of use and target audience in mind, I will produce a TT: • using mostly the present tense, as it is ‘one of the most common tenses in touristic language texts’ (Cavagnaro 2016,20) • employing colloquial and informal vocabulary (e.g., ‘sgridare’ [scold], ‘macello’ [mess]). As Mauri (2014, 234) points out, a tour guide must mediate between sectorial and everyday language to capture the interest of tourists • for the same reason, rearranging the order of information (e.g., l.1-4), simplifying passages (e.g., ST: l.5-9, TT: l.6- 8), and turning direct speech into indirect speech (l.13-15), to make the narration fluid and clear • including questions, to interact with the target audience (e.g., l.23, 3, 32). Kusuma and Wyrick (2014, 281) mark interaction as a key aspect in tours for teenagers: ‘guides who use an inviting inquiry-based approach create a safe space for all participants.’ • keeping the Irish toponyms, to promote the territory’s heritage Critical Reflection • textual analysis (200 words max) I recited my text to a group of teenage native speakers to test whether my translation strategy was effective. The general feedback was positive: according to my audience the story was conveyed with clarity and in an entertaining way that caught their interest. However, the attempted interaction through questions was unexpected and unwelcomed: they were reluctant to participate and no one wanted to answer first. Even though the literary sources I consulted were encouraging of this practice, asking questions to an actual teen audience proved to be suboptimal for the text’s enactment. However this might be due to my own inexperience as a tour guide and in interacting with teenagers as a professional. This brought to light an aspect of this kind of text I did not consider at first: ‘the influence of performers on https://www.rathcroghan.ie/discover/gallery/ 52 the experience of an audience at a live performance is substantial’ (Broude 2011, 34), and this might be especially true when the audience is constituted by a particular demographic with specific requirements. If I were to do the translation again, a high-school educator’s supervision, in conjunction with a professional tour guide’s perspective, could be beneficial in crafting a text for this purpose of use. Works Cited • use of sources and reference material Broude, Ronald. 2011. Performance and the Socialized Text. Textual Cultures. vol.6, no. 2, 23–47. https://doi.org/10.2979/textcult.6.2.23 Cavagnaro, Riccardo. 2016. Tradurre Il Viaggio Teoria e Metodologia per La Traduzione Di Una Guida Turistica. Caso Studio: Lonely Planet Di Dublino. Unibo - Alma Mater Studiorum - Università Degli Studi Di Bologna. Dunn, J. 1914. The Ancient Irish Epic Tale Táin Bó Cúalnge. Nutt. Mauri, E. 2014. L’italiano delle guide turistiche: uno studio della lingua orale del turismo. Italiano LinguaDue Vol.6 n.1. Università degli Studi di Milano. https://doi.org/10.13130/2037-3597/4234 Kinsella, T. 1969. The Tain: translated by Thomas Kinsella from the Irish epic Táin Bó Cúailnge. Oxford University Press. Kusuma, K. D. and Wyrick G. 2014. Real Teens, Real Tours: Teen Engagement Strategies for the One-Time Visit. The Journal of Museum Education vol. 39, no. 3, 276–83. http://www.jstor.org/stable/43305806 Waddell, J. 1983. Rathcroghan: A Royal Site in Connacht. The Journal of Irish Archaeology, no. 1, 21–46. http://www.jstor.org/stable/30001627 https://doi.org/10.2979/textcult.6.2.23 https://doi.org/10.13130/2037-3597/4234 http://www.jstor.org/stable/43305806 http://www.jstor.org/stable/30001627 53 Source Text The Cattle Raid of Cooley Target Text La battaglia dei tori On Ai Plain, at Tarbga – the place of bull-grief or bull-strife: the hill originally called Roi Dedonn – he met the bull Finnbennach, the White- Horned. Everyone who had escaped the battle stopped what he was doing, to see the two bulls fight together. The men of Ireland asked who should judge between the bulls. They agreed it should be Bricriu mc Carbad, because he favoured his friend no more than his enemy. So he was brought to a gap between the bulls to judge them. But the two bulls trampled across him as they struggled, and killed him. Such was Bricriu’s death. The Brown Bull of Cuailnge planted a hoof on the other bull’s horn. All day until nightfall he wouldn’t draw the hoof back toward him. Fergus chided him and took a stick to his flank. ‘It would look bad’, Fergus said, ‘to get this quarrelsome old calf so far, only to have him throw away the honour of his kind. Men have died on both sides because of you.’ At that, the bull jerked back his hoof. His leg broke, but the other bull’s horn was sent flying to the mountain nearby. It is called Sliab nAdarca, the Mountain of the Horn, ever since. Then the bulls fought each other for a long time. Night fell upon the men of Ireland and they could only hear the uproar and fury in the darkness. That night the bulls circled the whole of Ireland. When morning came, the men of Ireland saw the Donn 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Nella Piana di Ai, per la precisione a Tarbga, che originariamente si chiamava Roi Dedonn, ma proprio per questo episodio prende il nome Tarbga, cioè il luogo della sfida del toro, il toro marrone Donn Cuailnge incontra il qui presente Finnbennach, il toro dalle Corna Bianche. Tutti quelli sopravvissuti alla precedente guerra mollano quello che stavano facendo e si mettono a guardare la lotta. Inizia lo scontro: per prima cosa, quello che doveva arbitrare lo scontro, Bricriu mc Carbad, muore schiacciato dagli zoccoli. Non esattamente una bella giornata per Bricriu, eh? Poi, Donn Cuailnge, pianta uno zoccolo sul corno dell’avversario, e non si muovono da lì fino al tramonto, quando Fergus va a sgridare Finnbennach, il toro bianco, e gli fa una ramanzina sul fatto che lo hanno portato fino a lì, che un sacco di gente è morta per questo e non può certo arrendersi in quel modo. Così Finnbennach comincia a ribellarsi e riesce a far spostare lo zoccolo a Donn Cuailnge, che si rompe la gamba. Lui invece perde il corno, che vola fino alla montagna lì vicino, che per questo prende il nome di Sliab nAdarca, la Montagna del Corno. Ricominciano a combattere e cala la notte, e gli Irlandesi non vedono niente ma sentono tutto il macello causato dai due tori, che durante la battaglia girano tutta l’Irlanda. Al mattino vedono Donn Cuailnge dirigersi verso ovest, oltre Cruachan, con i resti di Finnbennach che gli penzolano dalle corna. Ci va in giro tutto il giorno, e poi al tramonto va a 54 Cuailnge coming westward past Cruachan with the mangled remains of Finnbennach hanging from his horns. He brandished them before him all that day, and at nightfall entered the lake near Cruachan. He came out with Finnbennach’s loins and shoulderblade and liver on his horns. The armies went to kill him, but Fergus stopped them and let him go anywhere he liked. He headed toward his own land. He stopped to drink in Finnlethe on the way. He left Finnbennach’s shoulderblade there – from which comes Finniethe, the White One’s Shoulderblade, as the name of that district. He drank again at Ath Luain, and left Finnbennach’s loins there – that is how the place was named Ath Luain, the Ford of the Loins. He uttered a bellow at Iraird Cuillenn that was heard through the whole province. He drank again at Tromma, where Finnbennach’s liver fell from his two horns – from which comes the name Tromma, or liver. He came to Etan Tairb and set his brow against the hill at Ath Da Ferta – from which comes the name Etan Tairb, the Bull’s Brow, in Murtheimme Plain. Then he went by the Midluachair road to Cuib, where he had dwelt with the milkless cow of Dáire, and he tore up the ground there – from which comes the name Gort mBúraig, the Field of the Trench. Then he went on until he fell dead between Ulster and Uí Echach at Druim Tairb. So Druim Tairb, the Ridge of the Bull, is the name of that place. 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 farsi un bagno nel lago vicino Cruachan. Esce dall’acqua e ha ancora appese addosso tre cose. Secondo voi cosa? Ditemi tre parti del corpo. C’eravate vicini: erano i lombi, una scapola e il fegato. I soldati vogliono ucciderlo, ma Fergus li ferma e lo lascia andare dove vuole, e così Donn Cuailnge si dirige verso casa. Lungo il cammino si ferma a bere a Finnlethe, che significa la Scapola del Bianco, e che prende questo nome perché, indovin