Translating Italy for the Eighteenth Century: Women, Translation, and Travel Writing, 1739-1797
St. Jerome Pub., 2002 - 169 Seiten
Translating Italy in the Eighteenth Century offers a historical analysis of the role played by translation in that complex redefinition of women's writing that was taking place in Britain in the second half of the eighteenth century. It investigates the ways in which women writers managed to appropriate images of Italy and adapt them to their own purposes in a period which covers the 'moral turn' in women's writing in the 1740s and foreshadows the Romantic interest in Italy at the end of the century.
A brief survey of translations produced by women in the period 1730-1799 provides an overview of the genres favoured by women translators, such as the moral novel, sentimental play and a type of conduct literature of a distinctively 'proto-feminist' character. Elizabeth Carter's translation of Francesco Algarotti's II Newtonianesimo per le Dame (1739) is one of the best examples of the latter kind of texts. A close reading of the English translation indicates a 'proto-feminist' exploitation of the myth of Italian women's cultural prestige.
Another genre increasingly accessible to women, namely travel writing, confirms this female interest in Italy. Female travellers who visited Italy in the second half of the century, such as Hester Piozzi, observed the state of women's education through the lenses provided by Carter. Piozzi's image of Italy, a paradoxical mixture of imagination and realistic observation, became a powerful symbolic source, which enabled the fictional image of a modern, relatively egalitarian British society to take shape.
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Richetti defines the novel of this period as ' intensely parochial ' because of its
focus on the complex local networks of social and linguistic stratification " which
characterized early modern Britain ( 1996 : xv ) . A firm connection has thus been
A complex plot will subsequently also save her dignity , and she will be allowed
to marry Vivaldi on equal terms ( of rank , fortune and sensibility ) at the end of the
story . In spite of being mitigated by the conventional happy ending , the political
The new conceptualization of the self produced by the complex discursive mode
defined as “ confessional ' by Foucault ( 1986 ) is in Keane's view a case of the
appropriation of Catholic confessional rituals to construct a specifically Protestant
Was andere dazu sagen - Rezension schreiben
Female Translators in the Eighteenth Century
Elizabeth Carters Translation of Algarottis Newtonianismo
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