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Tema:   Autor. Giorgio Caproni. Italia. Poesía. Literatura. Género. Profesión.
Autor:   Lindenberg, Judith
Año:   2014
Título:   Giorgio Caproni, poète-traducteur. Le rôle de la traduction dans le processus créatif [Giorgio Caproni, translator-poet: the role of translation in the creatif process]
Lugar:   Paris
Editorial/Revista:   Université de la Sorbonne nouvelle (Paris III)
Idioma:   Francés.
Tipo:   Tesis.
Resumen:   Giorgio Caproni (1912-1990) is now recognized as one of the greatest Italian poets of his time. As a parallel to his poetic work, he also devoted himself, as did a number of his contemporaries, to the translation of some of the most important figures of twentieth century French literature: Proust, Céline, Apollinaire, Char, to name but a few. Following some of the analyses of the philosopher Giorgio Agamben, we see how, with the aid of authors from another genre (prose) and language (French), Caproni's practice of translation, at the crossroads of a literary and translatological reasoning, constitutes a laboratory for experimenting with his poetry to come. It is through the translation of such authors as the above (particularly during the nineteen sixties) that Caproni's translational poetics is elaborated, characterized by the deconstruction of syntactic links. Punctuation, used as a rhythmic and melodic instrument, furrows the text and gives rise to a play of enunciation that one subsequently finds in his poetry. Indeed, the collection Congedo del viaggiatore cerimonioso (1965) marks the appearance of a character and the beginning of a new phase of his work. The series of characters who populate the second part of Giorgio Caproni's work testifies to a strategy, formed through his translations, of the theatricalization of the poetic space. But this theatrical simulation is only one of the modes used by the poet to express his loss of confidence in the power of the word to represent reality. This assessment opens out onto the themes of the dissolution of the subject and the absence of God: themes which are to be understood not so much from the point of view of philosophy as from that of the musical language towards which this poetry strives and which founds its modernity. [Source: Author]
 
 
2001-2019 Universidad de Alicante DOI: 10.14198/bitra
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