Tradurre l’argot dell’Assommoir: le strategie traduttive di Luigi Galeazzo Tenconi (BUR, 1964) e Luisa Collodi (Newton Company, 1995) a confronto
Journal Title: Argotica - Year 2015, Vol 0, Issue 1
Abstract
Among all Émile Zola’s works, L’Assommoir (1877) is probably the one in which the use of the argot is most relevant. The first Italian translator was Emmanuele Rocco, who published his work (Lo scannatoio) a year after its original publication in France. In 1880, Petrocchi published his second translation and he strongly criticized his predecessor. After that, seven translations have been published: the last one is by Pierluigi Pellini (2010). Each translator solves the problem of rendering the argot into Italian choosing his own style (i.e. Rocco uses archaic Italian, while Petrocchi prefers the Florentine dialect). In this essay, the author compares Galeazzo Tenconi’s and Collodi’s translations, illustrating the differences, for example, in the title (L’Assommoir e Lo Scannatoio, respectively), in the names of the characters (Gervasia and Gervaise), to concentrate especially in the rendering of the argot. Actually, no other studies have been published on the subject, while the first two translations have already been analysed.
Authors and Affiliations
Ginevra Grossi
Keywords
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Tradurre l’argot dell’Assommoir: le strategie traduttive di Luigi Galeazzo Tenconi (BUR, 1964) e Luisa Collodi (Newton Company, 1995) a confronto
Among all Émile Zola’s works, L’Assommoir (1877) is probably the one in which the use of the argot is most relevant. The first Italian translator was Emmanuele Rocco, who published his work (Lo scannatoio) a year after i...