Semicerchio - Rivista di poesia comparata

Abstract

ROBERTA ALVITI

"S'io fossi poeta, / un poeta gentile, canterei /

per gli occhi vostri un s? puro cantare / quale,

sul marmo bianco, l'acqua limpida: Pietro

Tripodo traduce Antonio Machado

Universit? degli Studi di Cassino e del Lazio Meridionale

r.alviti@unicas.it

The essay focuses on Pietro Tripodo's translation of

sixteen poems by Antonio Machado, one of the most

important names of twentieth-century Spanish poetry.

The aim of the essay is to analyse the translation

strategies that Tripodo employed to set up his Italian

version. As a matter of fact, Tripodo's rifacimenti are

the result of a careful work of philological excavation,

interpretation and appropriation of Machado's poems,

according to his intention to reproduce at least the

rhythmic pattern of the original text, with its various

line measures and its arrangement of stanzas.

ANNA BELOZOROVICH

L'allargarsi della coscienza

Sapienza Universit? di Roma, DSEAI

anna.belozorovich@uniroma1.it

The article analyzes the writings of Kazimir Malevich

and the self-translation processes found between texts

of a philosophical nature and his poetry. The analysis is

based on three texts written between 1916 and 1918,

the first being a note followed by two poems. All three

texts deal with themes that are peculiar of Malevich's

philosophical reflection, such as the widening of consciousness

and detachment from the earth. The significant

analogies that emerge between the texts allow to

observe mainly two phenomena: on the one hand, the

content exposed in the note migrates into the poem

reacting to its formal structure. Versification therefore

generates a distribution of contents that has its own

expressive power. Secondly, the transfer of reflection

from essay to poem allows the content itself to undergo

changes and to evolve. The analysis suggests

that the poetic form may represent a fertile space for

the development of Malevich's philosophical thought.

ALICE CENCETTI

"Imitabere Pana canendo". Pietro Tripodo traduttore

del Pascoli latino

Universit? degli Studi di Firenze

cencettialice@libero.it

This essay analyses the relationship between Pietro

Tripodo and Giovanni Pascoli's Latin poetry. Particular

attention was paid to his unpublished translation

of Pascoli's "Catullocalvos". Its main peculiarities (love

and a deep interest in language) arise here also from a

comparison with the remakes of the Latin Epigrams by

the poet from Romagna in Tripodo's "Other visions".

ELEONORA RIMOLO

Traduzione e riscrittura in Pietro Tripodo: Orazio,

Ausonio, Catullo

Universit? degli Studi di Salerno

eleonorarimolo@gmail.com

The essay analyses some remakes of classical texts

by Pietro Tripodo. The style is high and the poet chooses

words that are very sought after and not commonly

used, mostly of Latin ancestry: everything, however,

is linked to a process of remaking. In addition to the

rewriting of Horace's Carme I, XI in Altre visioni, four

unpublished texts by Tripod, belonging to an unpublished

collection entitled Flora, which is kept by Ignazio

Visco, a friend of the poet, are going to be analysed:

Horace's Carme I, IX ad Thaliarcum, the epigram XVIII

ad uxorem by Ausonio and Catullus carmina XCVI ET

LXXII. The encounter between the language of Tripod

and the classical language is a real collision of crossreferences

and references that stratify creating a third

language, alienating but involving; it manages to bring

the reader from the starting text to the one of arrival

preserving the classical atmospheres but succeeding

in placing them in a corrupted contemporaneity, which

has emptied the myth and denied the classical.

NICCOLO' SCAFFAI

Pietro Tripodo, la traduzione come figura

Universit? di Siena, DFCLAM

niccolo.scaffai@unisi.it

Pietro Tripodo (Rome, 1948-1999) was a poet

and translator of some of the most important authors

of ancient, medieval and modern tradition

such as Callimachus, Catullus, Horace, Arnaut

Daniel, Trakl, George, Val?ry. The four essays in the

dossier published in this issue all focus on Tripod's

translations from different languages and poets and

in all cases the analysis has extended from linguistic

facts to the literary relationship and creative processes

that oversee the remakes as well as Tripod's

writing with or without verse. Eleonora Rimolo's essay

focuses on translations and Tripod's relationship

with classical culture; Alice Cencetti's essay is

dedicated to translations from Pascoli's Latin works;

Zeno Verlato's essay examines translations by Arnaut

Daniel; finally, Roberta Alviti's essay contains an

in-depth analysis of Tripod's translations by Antonio

Machado.

ZENO VERLATO

Pietro Tripodo traduttore di Arnaut Daniel

CNR-Istituto Opera del Vocabolario Italiano (OVI)

verlato@ovi.cnr.it

In 1997, Pietro Tripodo published his translation of

the troubadour Arnaut Daniel's poems, a few months

before the worsening of the illness that led him to a

premature death. As the present essay aims to show,

such publication of Arnaut's production was the last

phase of Tripodo's relentless engagement with translation,

which proceeded in parallel with his commitment

as a poet. Translation, in the economy of Tripodo's

oeuvre, was, in fact, a rifacimento ("remake") and

played a key role in defining poetry as the embodiment

of atemporal formal values. This was, probably, a

consequence of his musings on Paul Val?ry's poetics.

My essay will demonstrate, through a comparison with

a different translation of Arnaut published a few years

later by the poet Fernando Bandini, the specificity of

Tripodo's work. Finally, my paper will show, through an

analysis of the relationship between the translation of

Arnaut and the collection of lyrical prose Vampe del

tempo, the last that Tripodo published, how Tripodo's

activity as a translator deeply contributed to the formation

of his language and poetic style.