Federica Pich – författare

This collection brings together leading and emerging scholars across Dante studies and translation studies to chart the English-language translation journey of the Divine Comedy from the 18th century to the present.The book is divided into four sections, each taking in turn a different dimension of the rise in popularity of English-language translations through the 21st century. The first section includes introductory chapters outlining the historical context around Dante’s work in English more broadly and reflections on the unique issues surrounding the translation of the Commedia in English. The second part looks at translations of the work across the centuries, situating them within their respective historical periods via a range of case studies. The third section turns to formal and stylistic choices, analyzing how translators have rendered Dante’s poetry, from terza rima to blank verse, and the decisions guiding their interpretations. A final section ties these different threads together through a conversation between different scholars about future directions for research on English-language translations of this canonical text.This volume will be of interest to scholars in translation studies, comparative literature, Italian literature, and English literature.

This collection brings together leading and emerging scholars across Dante studies and translation studies to chart the English-language translation journey of the Divine Comedy from the 18th century to the present.The book is divided into four sections, each taking in turn a different dimension of the rise in popularity of English-language translations through the 21st century. The first section includes introductory chapters outlining the historical context around Dante's work in English more broadly and reflections on the unique issues surrounding the translation of the Commedia in English. The second part looks at translations of the work across the centuries, situating them within their respective historical periods via a range of case studies. The third section turns to formal and stylistic choices, analyzing how translators have rendered Dante's poetry, from terza rima to blank verse, and the decisions guiding their interpretations. A final section ties these different threads together through a conversation between different scholars about future directions for research on English-language translations of this canonical text.This volume will be of interest to scholars in translation studies, comparative literature, Italian literature, and English literature.

This collection brings together leading and emerging scholars across Dante studies and translation studies to chart the English-language translation journey of the Divine Comedy from the 18th century to the present.The book is divided into four sections, each taking in turn a different dimension of the rise in popularity of English-language translations through the 21st century. The first section includes introductory chapters outlining the historical context around Dante's work in English more broadly and reflections on the unique issues surrounding the translation of the Commedia in English. The second part looks at translations of the work across the centuries, situating them within their respective historical periods via a range of case studies. The third section turns to formal and stylistic choices, analyzing how translators have rendered Dante's poetry, from terza rima to blank verse, and the decisions guiding their interpretations. A final section ties these different threads together through a conversation between different scholars about future directions for research on English-language translations of this canonical text.This volume will be of interest to scholars in translation studies, comparative literature, Italian literature, and English literature.

The volume presents a wide-ranging investigation of the ways in which Petrarch's legacy informed the relationship between visual and literary portraits in sixteenth-century Italy. Petrarch's vast literary production influenced the intellectual framework in which new models of representation and self-representation developed during the Renaissance. His two sonnets on Laura's portrait by Simone Martini and his ambivalent fascination with the illusionary power of portraiture in his Latin texts - such as the Secretum, the Familiares and De remediis utriusque fortune - constituted the theoretical reference for artists and writers alike. In a century dominated by the rhetorical comparison between art and literature (ut pictura poesis) and by the paragone debate, the interplay between Petrarch's oeuvre, Petrarchism and portraiture shaped the discourse on the relationship between the sitters' physical image and their inner life. The volume brings together diverse interdisciplinary contributions that explore the subject through a rich body of literary and visual sources.

The volume presents a wide-ranging investigation of the ways in which Petrarch's legacy informed the relationship between visual and literary portraits in sixteenth-century Italy. Petrarch's vast literary production influenced the intellectual framework in which new models of representation and self-representation developed during the Renaissance. His two sonnets on Laura's portrait by Simone Martini and his ambivalent fascination with the illusionary power of portraiture in his Latin texts - such as the Secretum, the Familiares and De remediis utriusque fortune - constituted the theoretical reference for artists and writers alike. In a century dominated by the rhetorical comparison between art and literature (ut pictura poesis) and by the paragone debate, the interplay between Petrarch's oeuvre, Petrarchism and portraiture shaped the discourse on the relationship between the sitters' physical image and their inner life. The volume brings together diverse interdisciplinary contributions that explore the subject through a rich body of literary and visual sources.

The volume presents a wide-ranging investigation of the ways in which Petrarch’s legacy informed the relationship between visual and literary portraits in sixteenth-century Italy. Petrarch’s vast literary production influenced the intellectual framework in which new models of representation and self-representation developed during the Renaissance. His two sonnets on Laura’s portrait by Simone Martini and his ambivalent fascination with the illusionary power of portraiture in his Latin texts — such as the Secretum, the Familiares and De remediis utriusque fortune — constituted the theoretical reference for artists and writers alike. In a century dominated by the rhetorical comparison between art and literature (ut pictura poësis) and by the paragone debate, the interplay between Petrarch’s oeuvre, Petrarchism and portraiture shaped the discourse on the relationship between the sitters’ physical image and their inner life. The volume brings together diverse interdisciplinary contributions that explore the subject through a rich body of literary and visual sources.