Andrea Ragusa

Luigi de Camoens: 17 sonetti di Joaquim de Araújo tradotti da Zuppone-Strani

Introduction

Luigi de camoens: 17 sonetti di joaquim de araújo tradotti da zuppone-strani. Analisi della traduzione italiana 1895 dei sonetti di Luís de Camões (Joaquim de Araújo) di Zuppone-Strani. Esamina scelte linguistiche e contesto lusofilo ottocentesco.

Abstract

The Italian translation of the series of sonnets Luís de Camões (1st ed. 1887), produced by Giuseppe Zuppone-Strani in 1895, is intertwined with the figure of the author himself (Joaquim de Araújo, an inexhaustible promoter of his own work, particularly in Italy), but also with the fervour for translation and dissemination among European Lusophiles at the end of the 19th century. Zuppone-Strani, who would in turn be co-translator (with Cannizzaro) of Antero de Quental's Sonetos Completos, was a poet and opera librettist, an aspect that emerges, from a metrical and rhythmic point of view, even in his translations from Portuguese. This article aims to retrace the history of this translation, analysing their choices and linguistic solutions, in a collaborative author-translator perspective, also in light of unpublished documents.

Review

The article "Luigi de Camoens: 17 sonetti di Joaquim de Araújo tradotti da Zuppone-Strani" promises a meticulous examination of a specific yet emblematic moment in late 19th-century European literary exchange. Focusing on Giuseppe Zuppone-Strani's 1895 Italian translation of Joaquim de Araújo's sonnet series *Luís de Camões*, the study situates this work within a confluence of significant cultural trends. These include the author's own energetic self-promotion, particularly within Italy, and the broader enthusiasm for translation and dissemination prevalent among European Lusophiles during that fin-de-siècle period. This initial framing immediately establishes the paper's relevance to both translation studies and the history of Luso-Italian literary relations. Beyond merely documenting a historical translation, the article proposes a nuanced analytical approach. It delves into the motivations and mechanics of the translation process, specifically intending to retrace its history and meticulously analyze Zuppone-Strani's linguistic choices and solutions. A particularly compelling aspect highlighted is Zuppone-Strani's background as a poet and opera librettist, suggesting that his professional experience profoundly influenced the metrical and rhythmic qualities of his translations from Portuguese. This interdisciplinary perspective, integrating literary criticism with performance aesthetics, offers a fresh lens through which to understand translation. Furthermore, the explicit mention of analyzing the translation from a "collaborative author-translator perspective" and utilizing "unpublished documents" signals a rigorous, archival-based methodology that promises original insights. The anticipated contribution of this article is significant. By shedding light on a specific, perhaps understudied, translation and the figures involved, it enriches our understanding of 19th-century literary reception, the intricacies of cross-cultural adaptation, and the mechanisms by which foreign literatures gained traction. Scholars interested in translation history, Luso-Italian studies, the reception of Portuguese literature in Europe, and the careers of figures like Araújo and Zuppone-Strani will find this work particularly valuable. The emphasis on unpublished materials suggests a potential for uncovering new facts and interpretations, making this article a noteworthy addition to the field, offering a micro-historical study with broader implications for understanding literary cosmopolitanism at the turn of the century.

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