Books by Margherita Zanoletti
Milan: Mimesis, 2021. Collana Eterotopie, 348 pp. ISBN 9788857576763, 2021
La raccolta poetica My People (1970) di Oodgeroo Noonuccal, oggi considerata un “classico” della ... more La raccolta poetica My People (1970) di Oodgeroo Noonuccal, oggi considerata un “classico” della letteratura postcoloniale, è qui tradotta in italiano per la prima volta. Questa antologia dà voce al popolo aborigeno australiano, marginalizzato, decimato e sfrattato dalla sua stessa terra con l’arrivo dei colonizzatori. La poesia di Oodgeroo recupera e riscrive le tradizioni orali e culturali aborigene, rivendicando nel contempo i diritti negati dalle politiche governative. Oodgeroo è la prima poetessa aborigena della storia. Il suo iter letterario ha inizio a metà degli anni Sessanta con la raccolta d’esordio We Are Going, pubblicata col nome anglosassone Kath Walker e poi confluita in My People. Oltre alla traduzione italiana integrale, questa edizione a cura di Margherita Zanoletti offre un’introduzione contestuale e testuale e un testo inedito in italiano della scrittrice indigena Alexis Wright.
Bruno Munari was one of the most important and eclectic twentieth-century European artists. Dubbe... more Bruno Munari was one of the most important and eclectic twentieth-century European artists. Dubbed the «Leonardo and Peter Pan» of contemporary art, he pioneered what would later be labelled kinetic art, playing a key role in the constitution and definition of the aesthetic programmes of groups such as Movimento Arte Concreta and Programmed Art. He became an internationally recognized name in the field of industrial design, winning the prestigious «Compasso d’Oro» prize four times, while also being a prominent figure in Italian graphic design, working for magazines such as Tempo and Domus, as well as renowned publishing companies such as Einaudi and Bompiani. He left an indelible mark as an art pedagogue and popularizer with his famous 1970s artistic laboratories for children and was the author of numerous books, ranging from essays on art and design to experimental books.
Capturing a resurgent interest in Munari at the international level, the exceptional array of critical voices in this volume constitutes an academic study of Munari of a depth and range that is unprecedented in any language, offering a unique analysis of Munari’s seven-decade-long career. Through original archival research, and illuminating and generative comparisons with other artists and movements both within and outside Italy, the essays gathered here offer novel readings of more familiar aspects of Munari’s career while also addressing those aspects that have received scant or no attention to date.
CONTENTS:
- Pierpaolo Antonello/Matilde Nardelli/Margherita Zanoletti: Introduction: Bruno Munari’s Lightness
- Ara H. Merjian: «On the Verge of the Absurd»: Munari, Dada, and Surrealism in Interwar Italy
- Anthony White: Bruno Munari and Lucio Fontana: Parallel Lives
- Giovanni Rubino: Bruno Munari versus Programmed Art: A Contradictory Situation, 1961–1967
- Jeffrey Schnapp: The Little Theatre of the Page
- Maria Antonella Pelizzari: The Charade of Bruno Munari’s Photo-reportage (1944)
- Margherita Zanoletti: Word Imagery and Images of Words: Bruno Munari the Writer
- Nicola Lucchi: «The Great Painter Paints the Baker’s Sign»: Bruno Munari and the Art of Advertising
- Matilde Nardelli: The Small, the Large, and the Moving: Bruno Munari and Cinema
- Pierpaolo Antonello: Bruno Munari’s Natural Forms
- Romy Golan: Campo Urbano: Episodes from an Unwritten History of Participation
- Teresa Kittler: Bruno Munari’s Environmental Awareness
Uscendo dai soliti luoghi dedicati all’arte d’elite, l’installazione di Benito Ligotti al Centro ... more Uscendo dai soliti luoghi dedicati all’arte d’elite, l’installazione di Benito Ligotti al Centro Sarca di Sesto San Giovanni segna la quarta tappa di un progetto artistico itinerante di condivisione interattiva, che ha visto la partecipazione attiva della cittadinanza alla costruzione di una grande opera d’arte condivisa.
Il titolo, social control, fa riferimento al progetto nato nel 2013 dall’esigenza da parte dell’artista di chiedersi come le informazioni che ci scambiamo attraverso Internet, in particolare sui social network, siano usate per perseguire finalità di cui non abbiamo piena coscienza.
Spiega Benito Ligotti: “Ospitare un progetto artistico come social control in un centro commerciale significa offrire la possibilità all’arte di entrare nel quotidiano di tanti individui, e nello stesso tempo offrir loro l’occasione di costituire concretamente un’opera d’arte, incontrando l’artista e lasciando la traccia di questo incontro.”
Il presente volume rappresenta il primo contributo critico italiano interamente incentrato sulla ... more Il presente volume rappresenta il primo contributo critico italiano interamente incentrato sulla figura della grande poetessa australiana Oodgeroo Noonuccal.
Libro ibrido e strutturalmente composito, esso ospita la prima versione italiana integrale della raccolta poetica d’esordio di Oodgeroo (all’epoca Kath Walker), We Are Going (1964). La raccolta, una delle pagine più intense della poesia di rivendicazione politica nel contesto culturale indigeno australiano, si costituisce, nel suo divenire, come una grande epica del popolo aborigeno, sospeso tra passato coloniale e passato ancestrale.
Precedono il testo poetico lo studio metacritico di Francesca Di Blasio e l’analisi testuale e contestuale di Margherita Zanoletti.
Papers by Margherita Zanoletti
Le metafore della speranza e la loro traducibilità di Margherita Zanoletti L'ambiguità della sper... more Le metafore della speranza e la loro traducibilità di Margherita Zanoletti L'ambiguità della speranza tra illusione e disincanto di Elisabetta Ostuni Speranza e Ananche in J.
The AALITRA Review: A Journal of Literary Translation, 2024
The translatability of metaphors is one of the most complex and debated issues in translanguaging... more The translatability of metaphors is one of the most complex and debated issues in translanguaging studies and can be approached from a variety of perspectives. This contribution focuses specifically on the interlingual dimension, exploring the translatability of figurative language and, in particular, metaphors. Developing as a reflection on the practical experience of translating a number of Australian authors into Italian, the paper examines the ways in which three First Nations writers (Oodgeroo Noonuccal, Ali Cobby Eckermann, and Evelyn Araluen) employ metaphors, by comparing their verses in English with some possible Italian translations. Their specific uses of metaphor highlight some of the mechanisms that drive the functioning of figurative language and the theoretical level of translatability, drawing attention to a few crucial problems that translators have to face and the strategies they can resort to, in the light of the most recent debates in the translation studies field. Beyond any claims of the defining or normative orders, the aim of this enquiry is to call attention to literary translation as an interpretive process that contributes to a deeper understanding of the dynamic nature of metaphoric meaning. As the examples provided suggest, metaphor opens to new world, new perspectives, and new interpretive orientations.
TTR, volume 37, number 1, 1er semestre 2024, p. 245–275., 2024
At the peak of her fame as a poet and political activist, the Australian author Oodgeroo Noonucca... more At the peak of her fame as a poet and political activist, the Australian author Oodgeroo Noonuccal (1920-1994, until 1988 known as Kath Walker) published her first complete work of prose, Stradbroke Dreamtime (1972). An important autobiographical narrative written in accessible English, the book comprises 27 stories for children that present two aspects of Oodgeroo’s life: episodes from her childhood on Minjerribah (North Stradbroke Island) and stories from Stradbroke Island and the Tamborine Mountains, as well as stories based on the author’s knowledge of her people and the land. This study adopts a semiotic-translation approach based on an expanded conceptualization of translation that goes beyond the literary sphere and the verbal realm. It argues that Oodgeroo’s writing entails three types of translation: the transformation of oral knowledge into written narrative (diamesic translation); the resemiotization of stories and legends from Aboriginal Australian languages and dialects into English (interlingual translation); and the transmission of her own life experience and culture to children and teenagers of all descent (intercultural translation). These translation processes enabled Oodgeroo to contextualize her own stories by calling upon the ancient stories of her people. The result is a multilayered literary work of rare complexity, worthy of greater scrutiny and more nuanced readings.
Semicerchio, 2024
Il presente contributo si propone di esaminare l’immaginario catastrofico come genere di protesta... more Il presente contributo si propone di esaminare l’immaginario catastrofico come genere di protesta nel contesto indigeno australiano. Oggetto precipuo dell’analisi sono le modalità con cui alcuni poeti aborigeni ricorrono a immagini apocalittiche per mostrare gli effetti devastanti della colonizzazione europea sulle popolazioni e sulle culture indigene.
Il saggio prenderà in esame un campione di autori rappresentativi della letteratura indigena contemporanea che descrivono la colonizzazione europea in termini catastrofici, come la rovina di una terra. Dei testi esaminati sono analizzati gli elementi fondamentali e caratterizzanti, secondo coordinate metodologiche di orientamento interdisciplinare.
Come tale analisi intende suggerire, la scrittura poetica di questi autori non racconta soltanto l’impatto distruttivo dei bianchi su generazioni di famiglie indigene, mostrando come la distruzione del passato continui a riverberarsi nel presente, ma suggerisce anche speranza per il futuro. Tale modello è disvelante nel mostrare gli effetti devastanti della colonizzazione attraverso le immagini di distruzione inserite nel testo e, al tempo stesso, utopico in quanto alla funzione di disvelamento corrisponde un desiderio di cura, rigenerazione e giustizia. In questo modo, la catastrofe offre agli scrittori indigeni l’opportunità di riscrivere il futuro come parte attiva della storia.
Translation Matters, 2024
This article delves into Oodgeroo Noonuccal's short story collection Stradbroke Dreamtime (1972) ... more This article delves into Oodgeroo Noonuccal's short story collection Stradbroke Dreamtime (1972) from a translation perspective. A national bestseller and a well-known classic of Australian children's literature, Noonuccal's narrative includes 27 illustrated stories, half of which are autobiographical, and half drawn from the author's knowledge of Indigenous spiritual cultures and oral traditions. Specifically, the exploration focuses on the inter-epistemic translational processes within Oodgeroo's work, including the transformation of performative and visual narratives into written form, the translation of Indigenous knowledge into children's literature, and the transmission of her life experiences and cultural background to individuals of diverse descent, thus raising awareness of Aboriginal epistemologies within a multicultural readership. The twofold objective is to suggest new methodologies applicable to the examination of Indigenous translation and underscore the significance of translation as a heuristic paradigm for the study of Indigenous cultures.
Routledge Handbook of Translation Theory and Concepts, 2023
Translation from the perspective of semiotics today, specifically global semiotics, is the essent... more Translation from the perspective of semiotics today, specifically global semiotics, is the essential condition for general sign processes, as they expand through the entire semio(bio)sphere. As such, translation is not reducible uniquely to the verbal-linguistic order nor uniquely to the sphere of human signs. Translation occurs among different semiospheres, human and nonhuman, in the macro world and in the micro world. This chapter, in two parts, proposes an interdisciplinary approach to translation and translatability by exploring sign processes at the interface between semiotics, translation studies, adaptation studies and intermedia studies where different perspectives and methodologies intersect, challenging canonical boundaries and definitions.
Part I, by Margherita Zanoletti, ‘Intersemiotic translation across semiotics and translation studies: definitions, taxonomies, perspectives,’ offers an overview of some key trends in intersemiotic translation as traditionally understood. Intersemiotic or multimodal translation is investigated, with exemplifications, in relation to cultural traditions, social practices and the production of verbal and nonverbal artifacts, including adaptations, appropriations, remixes and transmediations.
Beyond translation, commonly understood as interlingual communication or as translation among different sign systems in the human world, the second part of this chapter, ‘Global semiotics and translation,’ by Susan Petrilli, conceptualizes translation as an intersemiotic process in addition to evidencing aspects that are not limited to the human world. Intersemiotic translation presupposes intersemiosic translation as it concerns the human and nonhuman world in the macrocosmic and microcosmic spheres, the essential condition of semiosis characteristic of life in general. However, our immediate object of inquiry here is semiosis in the properly human world. In a global semiotic framework, ‘semiotics’ is the name of the science, but it also designates a specifically human competence in sign activity, the capacity for reflection, conscious awareness, therefore responsibility. In light of this, the question of translation considered today relatively to semiotics inevitably also involves the particular orientation now recognized as ‘semioethics.’
Motifs, 2022
In 2008, the literary translator Andrea Sirotti co-translated with Gaetano Luigi Staffilano Alexi... more In 2008, the literary translator Andrea Sirotti co-translated with Gaetano Luigi Staffilano Alexis Wright’s novel Carpentaria into Italian, less than two years after the publication of the original. The translation introduced Wright to the Italian public for the first time. However, I cacciatori di stelle (“The Stars Catchers”) never achieved the expected commercial success: in fact, it was a sales flop, and for years the Italian translation of the novel, published by Rizzoli, has been almost unavailable on the market.
This interview with Margherita Zanoletti revolves around the genesis and the outcome of the project of translating Carpentaria into Italian, offering close micro-readings of the novel as an exemplary instance of polyphonic writing. The discussion touches on the ethical and practical choices related to the translation process, the relationship between the author and the translators, and the editorial intervention of the publisher – from the transformation of the title and the book cover design to the attempts to normalize Wright’s distinctly Indigenous Australian style. The interview also aims to emphasise on the one hand, the twofold role of the author as a storyteller and spokesperson for the Indigenous minority and, on the other hand, the role of the translators as readers, interpreters, mediators, and co-authors.
MARÍA DOLORES RAMÍREZ ALMAZÁN (Edición e introducción), Encrucijadas en la cultura italiana, Jun 2022
This paper features a critical examination of the state of the art of Australian Studies in Italy... more This paper features a critical examination of the state of the art of Australian Studies in Italy. Th e focus is on literature but also embraces other disciplinary, critical, and cultural perspectives.
The first part of the paper, authored by Francesca Di Blasio, deals with research about Australian literary studies in Italian academia, and within cultural studies more generally, also keeping an eye on the activities of associations that promote Australian Studies in Italy.
The second part, by Margherita Zanoletti, focuses on the presence of Australian literature in translation in the Italian cultural world and publishing market.
P. Camuffo, N. Buttignon, Le nostre voci : scritti politici e sociali degli aborigeni australiani. PM Edizioni, pp. 11-17., 2021
In questa antologia si alternano e dialogano scritti di emancipazione politica e testi relativi a... more In questa antologia si alternano e dialogano scritti di emancipazione politica e testi relativi a politiche di vita, componendo una panoramica inedita della storia australiana dagli anni Sessanta del Novecento fino ai nostri giorni. Un percorso cronologico che, in modo anticonvenzionale, attraversa uno spettro temporale intenso e complesso e una gamma articolata di generi testuali, rilegata da un comune sfondo tematico: la resistenza aborigena. Aggiungendosi alla serie crescente di traduzioni italiane e di studi critici relativi alla storia e all'eredità culturale dei nativi australiani, la pubblicazione di questo volume consente alla battaglia di chi ha scritto questi testi di proseguire e di estendersi. È un atto meritorio di ricostruzione e restituzione storica, che getta luce sulla travagliata vicenda di una terra dalla quale tuttora arrivano testimonianze parziali o edulcorate. Proponendo spunti di riflessione, attualità e vita.
Bruno Munari: The Lightness of Art (P. Antonello, M. Nardelli, M. Zanoletti eds.), 2017
An analysis of the link between the words and the images in Bruno Munari's work.
Susan Petrilli & Meng Ji (eds.), Intersemiotic Perspectives on Emotions: Translating across Signs, Bodies and Values. London: Routledge, 2022., 2022
The purpose of this essay is to examine the Aboriginal-related words and expressions contained in... more The purpose of this essay is to examine the Aboriginal-related words and expressions contained in the poetic anthology My People (1971), published by the Aboriginal writer, educator and political activist Oodgeroo Noonuccal (1920-1994), and to compare them with the Italian translation. Such analysis will be done in light of some recent debates about translating emotional and poetic language.
Oodgeroo (known until 1988 as Kath Walker) wrote in English, the language of colonizers. However, the seventy-five poems included in My People are disseminated with references to the Indigenous languages and elements of Indigenous culture and society. Aiming to denounce the discrimination against the Aboriginal people, in her verses Oodgeroo depicts the Indigenous history, lifestyle, traditions and spirituality: something that the poet perceives and evokes vividly, but that at the same time has been largely destroyed and is either dramatically changing or quickly disappearing,. In fact, Oodgeroo's "poetemic" verses, as the Australian novelist and poet Mudroroo Narogin defined them, must be read as an act of socio-political accusation, in which the combination of English language and Aboriginal linguistic and cultural references plays a key role to enhance the emotional impact of the poems.
While the focus of this essay is on Oodgeroo's lexicon, at the same time the study aims to highlight the emotional charge of the Aboriginal words and expressions employed by the poet, going beyond mere linguistic aspects and considering the cultural sphere. A further aim is to identify the principal strategies adopted by the Italian translator in the specific cases analysed, in order to reflect on the translation practice as a means to mediate and transmit both the cultural heritage and the emotional dimension.
Lettere aperte, Jan 2020
During his 70-year creative career, Bruno Munari (1907-1998) experimented with a wide range of te... more During his 70-year creative career, Bruno Munari (1907-1998) experimented with a wide range of techniques and genres, anticipating and influencing many subsequent trends. However, he was not only an artist and designer, but also a sophisticated intellectual and a prolific writer, as evidenced by his intense activity of pedagogical and narrative dissemination through over 180 books.
This contribution analyzes Munari's written production in relation to the theme of creativity, a major topic in his work, through the comparative analysis of a series of texts and visual works. In particular, we will focus on the didactic books Fantasia (1977) and Da cosa nasce cosa (1981), where Munari attempts to explain the ways in which fantasy, invention, creativity and imagination interact, and provides practical rules to stimulate and nourish the creativity of children and adults.
As words and images suggest, Munari's creative process deliberately incorporates heterogeneous ideas, inventions and materials. His approach is not sequential nor linear, but rather based on a cognitive three-dimensionality which translates into the re-elaboration and re-semiotization of an idea in multiple signs and shapes.
Susan Petrilli (ed.) Digressioni nella storia. Dal tempo del sogno al tempo della globalizzazione. Milan: Meltemi, 2017.
Il presente contributo analizza la struttura, i temi e lo stile narrativo adottato dalla scrittri... more Il presente contributo analizza la struttura, i temi e lo stile narrativo adottato dalla scrittrice e attivista aborigena Oodgeroo Noonuccal, fino al 1988 conosciuta come Kath Walker (1920-1993), in "Stradbroke Dreamtime" (1972). L'opera, un classico della letteratura australiana e da anni testo adottato nelle scuole dell'obbligo in Australia, raccoglie 27 racconti, di cui metà autobiografici e metà attinenti alla mitologia e alla tradizione orale aborigene.
L'analisi proposta illustra la storia della pubblicazione e i contenuti del libro, a partire dai temi ricorrenti: la presenza della natura, da preservare e proteggere, le creature ancestrali, i legami familiari, il folklore aborigeno, il rapporto tra indigeni e bianchi, e il tema del tempo. Oggetto di analisi saranno inoltre lo stile narrativo e il linguaggio adottato dall'autrice, visti come connotati ibridi a metà strada tra la necessità di affermazione identitaria e conservazione culturale e l'esigenza di divulgazione e alfabetizzazione su questioni politiche e razziali, da condividere con le giovani generazioni.
Semicerchio (forthcoming), 2015
To a large extent, the Australian artist Brett Whiteley’s relationship with literature remains an... more To a large extent, the Australian artist Brett Whiteley’s relationship with literature remains an object of controversy. Some biographers claim that although the painter always showed curiosity about poetry and literature, he never deepened his literary knowledge in a consistent way (Hilton and Blundel, 1996). According to others, Whiteley’s interest in poetry (e.g. Baudelaire, Rimbaud) was among the most significant sources of inspiration for his pictorial work (McGrath, 1979). What is evident, however, is that his adaptations of other poets’ work into a pictorial setting involved an appropriation process, based on intermedia, interlinguistic and intercultural practice. Moreover, Whiteley often utilised words—whether sourced from himself or somebody else—rather like Beat poetry. As the Beats utilized their poetry in order to battle social conformity and literary tradition, Whiteley’s idiosyncrasies seem to adhere to the descriptive attitude that defines the Beat generation, namely, the principle that how to live seems much more crucial than why.
This paper provides a critical overview of the link between Whiteley’s work and poetry, with particular attention to the artist’s poetic sources of inspiration, his pictorial representation of poets, and his own verses. The ultimate aim is not only to shed light on an underexplored aspect of his oeuvre, but also to highlight that intermediality and synesthesia (Scott, 2011) are key aspects of the artist’s poetics and that poetry, in particular, had a strong influence on the development of his art.
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Books by Margherita Zanoletti
Capturing a resurgent interest in Munari at the international level, the exceptional array of critical voices in this volume constitutes an academic study of Munari of a depth and range that is unprecedented in any language, offering a unique analysis of Munari’s seven-decade-long career. Through original archival research, and illuminating and generative comparisons with other artists and movements both within and outside Italy, the essays gathered here offer novel readings of more familiar aspects of Munari’s career while also addressing those aspects that have received scant or no attention to date.
CONTENTS:
- Pierpaolo Antonello/Matilde Nardelli/Margherita Zanoletti: Introduction: Bruno Munari’s Lightness
- Ara H. Merjian: «On the Verge of the Absurd»: Munari, Dada, and Surrealism in Interwar Italy
- Anthony White: Bruno Munari and Lucio Fontana: Parallel Lives
- Giovanni Rubino: Bruno Munari versus Programmed Art: A Contradictory Situation, 1961–1967
- Jeffrey Schnapp: The Little Theatre of the Page
- Maria Antonella Pelizzari: The Charade of Bruno Munari’s Photo-reportage (1944)
- Margherita Zanoletti: Word Imagery and Images of Words: Bruno Munari the Writer
- Nicola Lucchi: «The Great Painter Paints the Baker’s Sign»: Bruno Munari and the Art of Advertising
- Matilde Nardelli: The Small, the Large, and the Moving: Bruno Munari and Cinema
- Pierpaolo Antonello: Bruno Munari’s Natural Forms
- Romy Golan: Campo Urbano: Episodes from an Unwritten History of Participation
- Teresa Kittler: Bruno Munari’s Environmental Awareness
Il titolo, social control, fa riferimento al progetto nato nel 2013 dall’esigenza da parte dell’artista di chiedersi come le informazioni che ci scambiamo attraverso Internet, in particolare sui social network, siano usate per perseguire finalità di cui non abbiamo piena coscienza.
Spiega Benito Ligotti: “Ospitare un progetto artistico come social control in un centro commerciale significa offrire la possibilità all’arte di entrare nel quotidiano di tanti individui, e nello stesso tempo offrir loro l’occasione di costituire concretamente un’opera d’arte, incontrando l’artista e lasciando la traccia di questo incontro.”
Libro ibrido e strutturalmente composito, esso ospita la prima versione italiana integrale della raccolta poetica d’esordio di Oodgeroo (all’epoca Kath Walker), We Are Going (1964). La raccolta, una delle pagine più intense della poesia di rivendicazione politica nel contesto culturale indigeno australiano, si costituisce, nel suo divenire, come una grande epica del popolo aborigeno, sospeso tra passato coloniale e passato ancestrale.
Precedono il testo poetico lo studio metacritico di Francesca Di Blasio e l’analisi testuale e contestuale di Margherita Zanoletti.
Papers by Margherita Zanoletti
Il saggio prenderà in esame un campione di autori rappresentativi della letteratura indigena contemporanea che descrivono la colonizzazione europea in termini catastrofici, come la rovina di una terra. Dei testi esaminati sono analizzati gli elementi fondamentali e caratterizzanti, secondo coordinate metodologiche di orientamento interdisciplinare.
Come tale analisi intende suggerire, la scrittura poetica di questi autori non racconta soltanto l’impatto distruttivo dei bianchi su generazioni di famiglie indigene, mostrando come la distruzione del passato continui a riverberarsi nel presente, ma suggerisce anche speranza per il futuro. Tale modello è disvelante nel mostrare gli effetti devastanti della colonizzazione attraverso le immagini di distruzione inserite nel testo e, al tempo stesso, utopico in quanto alla funzione di disvelamento corrisponde un desiderio di cura, rigenerazione e giustizia. In questo modo, la catastrofe offre agli scrittori indigeni l’opportunità di riscrivere il futuro come parte attiva della storia.
Part I, by Margherita Zanoletti, ‘Intersemiotic translation across semiotics and translation studies: definitions, taxonomies, perspectives,’ offers an overview of some key trends in intersemiotic translation as traditionally understood. Intersemiotic or multimodal translation is investigated, with exemplifications, in relation to cultural traditions, social practices and the production of verbal and nonverbal artifacts, including adaptations, appropriations, remixes and transmediations.
Beyond translation, commonly understood as interlingual communication or as translation among different sign systems in the human world, the second part of this chapter, ‘Global semiotics and translation,’ by Susan Petrilli, conceptualizes translation as an intersemiotic process in addition to evidencing aspects that are not limited to the human world. Intersemiotic translation presupposes intersemiosic translation as it concerns the human and nonhuman world in the macrocosmic and microcosmic spheres, the essential condition of semiosis characteristic of life in general. However, our immediate object of inquiry here is semiosis in the properly human world. In a global semiotic framework, ‘semiotics’ is the name of the science, but it also designates a specifically human competence in sign activity, the capacity for reflection, conscious awareness, therefore responsibility. In light of this, the question of translation considered today relatively to semiotics inevitably also involves the particular orientation now recognized as ‘semioethics.’
This interview with Margherita Zanoletti revolves around the genesis and the outcome of the project of translating Carpentaria into Italian, offering close micro-readings of the novel as an exemplary instance of polyphonic writing. The discussion touches on the ethical and practical choices related to the translation process, the relationship between the author and the translators, and the editorial intervention of the publisher – from the transformation of the title and the book cover design to the attempts to normalize Wright’s distinctly Indigenous Australian style. The interview also aims to emphasise on the one hand, the twofold role of the author as a storyteller and spokesperson for the Indigenous minority and, on the other hand, the role of the translators as readers, interpreters, mediators, and co-authors.
The first part of the paper, authored by Francesca Di Blasio, deals with research about Australian literary studies in Italian academia, and within cultural studies more generally, also keeping an eye on the activities of associations that promote Australian Studies in Italy.
The second part, by Margherita Zanoletti, focuses on the presence of Australian literature in translation in the Italian cultural world and publishing market.
Oodgeroo (known until 1988 as Kath Walker) wrote in English, the language of colonizers. However, the seventy-five poems included in My People are disseminated with references to the Indigenous languages and elements of Indigenous culture and society. Aiming to denounce the discrimination against the Aboriginal people, in her verses Oodgeroo depicts the Indigenous history, lifestyle, traditions and spirituality: something that the poet perceives and evokes vividly, but that at the same time has been largely destroyed and is either dramatically changing or quickly disappearing,. In fact, Oodgeroo's "poetemic" verses, as the Australian novelist and poet Mudroroo Narogin defined them, must be read as an act of socio-political accusation, in which the combination of English language and Aboriginal linguistic and cultural references plays a key role to enhance the emotional impact of the poems.
While the focus of this essay is on Oodgeroo's lexicon, at the same time the study aims to highlight the emotional charge of the Aboriginal words and expressions employed by the poet, going beyond mere linguistic aspects and considering the cultural sphere. A further aim is to identify the principal strategies adopted by the Italian translator in the specific cases analysed, in order to reflect on the translation practice as a means to mediate and transmit both the cultural heritage and the emotional dimension.
This contribution analyzes Munari's written production in relation to the theme of creativity, a major topic in his work, through the comparative analysis of a series of texts and visual works. In particular, we will focus on the didactic books Fantasia (1977) and Da cosa nasce cosa (1981), where Munari attempts to explain the ways in which fantasy, invention, creativity and imagination interact, and provides practical rules to stimulate and nourish the creativity of children and adults.
As words and images suggest, Munari's creative process deliberately incorporates heterogeneous ideas, inventions and materials. His approach is not sequential nor linear, but rather based on a cognitive three-dimensionality which translates into the re-elaboration and re-semiotization of an idea in multiple signs and shapes.
L'analisi proposta illustra la storia della pubblicazione e i contenuti del libro, a partire dai temi ricorrenti: la presenza della natura, da preservare e proteggere, le creature ancestrali, i legami familiari, il folklore aborigeno, il rapporto tra indigeni e bianchi, e il tema del tempo. Oggetto di analisi saranno inoltre lo stile narrativo e il linguaggio adottato dall'autrice, visti come connotati ibridi a metà strada tra la necessità di affermazione identitaria e conservazione culturale e l'esigenza di divulgazione e alfabetizzazione su questioni politiche e razziali, da condividere con le giovani generazioni.
This paper provides a critical overview of the link between Whiteley’s work and poetry, with particular attention to the artist’s poetic sources of inspiration, his pictorial representation of poets, and his own verses. The ultimate aim is not only to shed light on an underexplored aspect of his oeuvre, but also to highlight that intermediality and synesthesia (Scott, 2011) are key aspects of the artist’s poetics and that poetry, in particular, had a strong influence on the development of his art.
Capturing a resurgent interest in Munari at the international level, the exceptional array of critical voices in this volume constitutes an academic study of Munari of a depth and range that is unprecedented in any language, offering a unique analysis of Munari’s seven-decade-long career. Through original archival research, and illuminating and generative comparisons with other artists and movements both within and outside Italy, the essays gathered here offer novel readings of more familiar aspects of Munari’s career while also addressing those aspects that have received scant or no attention to date.
CONTENTS:
- Pierpaolo Antonello/Matilde Nardelli/Margherita Zanoletti: Introduction: Bruno Munari’s Lightness
- Ara H. Merjian: «On the Verge of the Absurd»: Munari, Dada, and Surrealism in Interwar Italy
- Anthony White: Bruno Munari and Lucio Fontana: Parallel Lives
- Giovanni Rubino: Bruno Munari versus Programmed Art: A Contradictory Situation, 1961–1967
- Jeffrey Schnapp: The Little Theatre of the Page
- Maria Antonella Pelizzari: The Charade of Bruno Munari’s Photo-reportage (1944)
- Margherita Zanoletti: Word Imagery and Images of Words: Bruno Munari the Writer
- Nicola Lucchi: «The Great Painter Paints the Baker’s Sign»: Bruno Munari and the Art of Advertising
- Matilde Nardelli: The Small, the Large, and the Moving: Bruno Munari and Cinema
- Pierpaolo Antonello: Bruno Munari’s Natural Forms
- Romy Golan: Campo Urbano: Episodes from an Unwritten History of Participation
- Teresa Kittler: Bruno Munari’s Environmental Awareness
Il titolo, social control, fa riferimento al progetto nato nel 2013 dall’esigenza da parte dell’artista di chiedersi come le informazioni che ci scambiamo attraverso Internet, in particolare sui social network, siano usate per perseguire finalità di cui non abbiamo piena coscienza.
Spiega Benito Ligotti: “Ospitare un progetto artistico come social control in un centro commerciale significa offrire la possibilità all’arte di entrare nel quotidiano di tanti individui, e nello stesso tempo offrir loro l’occasione di costituire concretamente un’opera d’arte, incontrando l’artista e lasciando la traccia di questo incontro.”
Libro ibrido e strutturalmente composito, esso ospita la prima versione italiana integrale della raccolta poetica d’esordio di Oodgeroo (all’epoca Kath Walker), We Are Going (1964). La raccolta, una delle pagine più intense della poesia di rivendicazione politica nel contesto culturale indigeno australiano, si costituisce, nel suo divenire, come una grande epica del popolo aborigeno, sospeso tra passato coloniale e passato ancestrale.
Precedono il testo poetico lo studio metacritico di Francesca Di Blasio e l’analisi testuale e contestuale di Margherita Zanoletti.
Il saggio prenderà in esame un campione di autori rappresentativi della letteratura indigena contemporanea che descrivono la colonizzazione europea in termini catastrofici, come la rovina di una terra. Dei testi esaminati sono analizzati gli elementi fondamentali e caratterizzanti, secondo coordinate metodologiche di orientamento interdisciplinare.
Come tale analisi intende suggerire, la scrittura poetica di questi autori non racconta soltanto l’impatto distruttivo dei bianchi su generazioni di famiglie indigene, mostrando come la distruzione del passato continui a riverberarsi nel presente, ma suggerisce anche speranza per il futuro. Tale modello è disvelante nel mostrare gli effetti devastanti della colonizzazione attraverso le immagini di distruzione inserite nel testo e, al tempo stesso, utopico in quanto alla funzione di disvelamento corrisponde un desiderio di cura, rigenerazione e giustizia. In questo modo, la catastrofe offre agli scrittori indigeni l’opportunità di riscrivere il futuro come parte attiva della storia.
Part I, by Margherita Zanoletti, ‘Intersemiotic translation across semiotics and translation studies: definitions, taxonomies, perspectives,’ offers an overview of some key trends in intersemiotic translation as traditionally understood. Intersemiotic or multimodal translation is investigated, with exemplifications, in relation to cultural traditions, social practices and the production of verbal and nonverbal artifacts, including adaptations, appropriations, remixes and transmediations.
Beyond translation, commonly understood as interlingual communication or as translation among different sign systems in the human world, the second part of this chapter, ‘Global semiotics and translation,’ by Susan Petrilli, conceptualizes translation as an intersemiotic process in addition to evidencing aspects that are not limited to the human world. Intersemiotic translation presupposes intersemiosic translation as it concerns the human and nonhuman world in the macrocosmic and microcosmic spheres, the essential condition of semiosis characteristic of life in general. However, our immediate object of inquiry here is semiosis in the properly human world. In a global semiotic framework, ‘semiotics’ is the name of the science, but it also designates a specifically human competence in sign activity, the capacity for reflection, conscious awareness, therefore responsibility. In light of this, the question of translation considered today relatively to semiotics inevitably also involves the particular orientation now recognized as ‘semioethics.’
This interview with Margherita Zanoletti revolves around the genesis and the outcome of the project of translating Carpentaria into Italian, offering close micro-readings of the novel as an exemplary instance of polyphonic writing. The discussion touches on the ethical and practical choices related to the translation process, the relationship between the author and the translators, and the editorial intervention of the publisher – from the transformation of the title and the book cover design to the attempts to normalize Wright’s distinctly Indigenous Australian style. The interview also aims to emphasise on the one hand, the twofold role of the author as a storyteller and spokesperson for the Indigenous minority and, on the other hand, the role of the translators as readers, interpreters, mediators, and co-authors.
The first part of the paper, authored by Francesca Di Blasio, deals with research about Australian literary studies in Italian academia, and within cultural studies more generally, also keeping an eye on the activities of associations that promote Australian Studies in Italy.
The second part, by Margherita Zanoletti, focuses on the presence of Australian literature in translation in the Italian cultural world and publishing market.
Oodgeroo (known until 1988 as Kath Walker) wrote in English, the language of colonizers. However, the seventy-five poems included in My People are disseminated with references to the Indigenous languages and elements of Indigenous culture and society. Aiming to denounce the discrimination against the Aboriginal people, in her verses Oodgeroo depicts the Indigenous history, lifestyle, traditions and spirituality: something that the poet perceives and evokes vividly, but that at the same time has been largely destroyed and is either dramatically changing or quickly disappearing,. In fact, Oodgeroo's "poetemic" verses, as the Australian novelist and poet Mudroroo Narogin defined them, must be read as an act of socio-political accusation, in which the combination of English language and Aboriginal linguistic and cultural references plays a key role to enhance the emotional impact of the poems.
While the focus of this essay is on Oodgeroo's lexicon, at the same time the study aims to highlight the emotional charge of the Aboriginal words and expressions employed by the poet, going beyond mere linguistic aspects and considering the cultural sphere. A further aim is to identify the principal strategies adopted by the Italian translator in the specific cases analysed, in order to reflect on the translation practice as a means to mediate and transmit both the cultural heritage and the emotional dimension.
This contribution analyzes Munari's written production in relation to the theme of creativity, a major topic in his work, through the comparative analysis of a series of texts and visual works. In particular, we will focus on the didactic books Fantasia (1977) and Da cosa nasce cosa (1981), where Munari attempts to explain the ways in which fantasy, invention, creativity and imagination interact, and provides practical rules to stimulate and nourish the creativity of children and adults.
As words and images suggest, Munari's creative process deliberately incorporates heterogeneous ideas, inventions and materials. His approach is not sequential nor linear, but rather based on a cognitive three-dimensionality which translates into the re-elaboration and re-semiotization of an idea in multiple signs and shapes.
L'analisi proposta illustra la storia della pubblicazione e i contenuti del libro, a partire dai temi ricorrenti: la presenza della natura, da preservare e proteggere, le creature ancestrali, i legami familiari, il folklore aborigeno, il rapporto tra indigeni e bianchi, e il tema del tempo. Oggetto di analisi saranno inoltre lo stile narrativo e il linguaggio adottato dall'autrice, visti come connotati ibridi a metà strada tra la necessità di affermazione identitaria e conservazione culturale e l'esigenza di divulgazione e alfabetizzazione su questioni politiche e razziali, da condividere con le giovani generazioni.
This paper provides a critical overview of the link between Whiteley’s work and poetry, with particular attention to the artist’s poetic sources of inspiration, his pictorial representation of poets, and his own verses. The ultimate aim is not only to shed light on an underexplored aspect of his oeuvre, but also to highlight that intermediality and synesthesia (Scott, 2011) are key aspects of the artist’s poetics and that poetry, in particular, had a strong influence on the development of his art.
The interpretive lens used in order to analyze "Interior, Lavender Bay" is interlingual translation. Translating Whiteley’s words from English into Italian allows not only to decipher the literal meaning and comprehend the symbolic function of his words, but also to highlight the relation between art and language.
From this perspective, drawing on W. J. T. Mitchell’s "Picture Theory" (1994), the paper aims to discuss the functioning of images and the way in which interlingual translation might bring out latent connections in the source, opening a window on the interdisciplinary encounter between creative processes in the visual art and translation theory and practice."
One broad question will be addressed through this investigation: can translation studies offer some critical insights into the history of Italian art and culture? The chief presupposition, endorsed by recent research by Venuti (2007, 2009, 2010), is that translation theory enables a rigorous critical methodology that can advance thinking about visual culture, transnational art, and cultural identity. The relation between source (Marinetti’s work) and adaptation (Buvoli’s work) is viewed not as a reproduction or transfer, but rather as an interpretation that exposes the cultural and social conditions of both the source and the translation. In turn, the critic applies an interpretant, whether a methodology or interpretation, to formulate the hermeneutic relation and its interrogative effects.
From this perspective, Buvoli’s adaptation of Marinetti’s work is discussed not only as a phenomenon entailing different media and stimulating various sensory and cognitive reactions, but also as a proliferation, which develops a prosthetics of language through the multiplication of intermedial associations (Scott, 2010). Such analysis focuses on Buvoli’s combinatorial use of verbal and visual elements, his use of English and Italian, his English translation of Marinetti’s words, and his use of soundtrack and subtitles.
The ultimate goal of this study is not merely to highlight the similarities and the differences between Marinetti’s work and Buvoli’s, but to interpret their intertextual relationship as a phenomenon inherent to the history of Italian civilization.
Overland Journal. Her broadly published criticism, fiction and poetry
Literary has been awarded the Nakata Brophy Prize for Young Indigenous
Writers, the Judith Wright Poetry Prize, a Wheeler Centre Next
Chapter Fellowship, and a Neilma Sidney Literary Travel Fund
grant. Born and raised on Dharug country, she is a descendant of
the Bundjalung Nation. Evelyn’s debut collection
Dropbear was shortlisted for the 2021 Judith Wright Calanthe Award for a Poetry Collection and the 2022 Kenneth Slessor Prize for Poetry, and won
the 2022 Stella Prize. It was also Highly Commended for the 2021
Anne Elder Award. Araluen is widely considered one of the most
promising voices of contemporary Australian literature.
Oodgeroo wrote poems, short stories, essays, and children literature. The Aboriginal writer Mudrooroo, in The Poetemics of Oodgeroo of the Tribe Noonuccal, highlights the fusion of protest (polemics) and language (poetics) as the most innovative aspect of Oodgeroo’s literary contribution. What does matter in her work is the message, while any aesthetic pleasure we derive from her writing is of secondary importance. The deliberate rejection of aesthetic concerns, according to Mudrooroo, is intended to produce a sense of alienation.
Mudrooroo argues that the apparent naivety of Oodgeroo’s style hides a sophisticated and profound communicative intent. Her simple vocabulary and prosody subtends the intent of the author to imitate the language of childhood, tapping our most sensitive chords.
The Italian scholar and translator Lorenzo Perrona, including Oodgeroo amongst the most influential Australian intellectuals of the past century, suggests that her work refers to the vast heritage of Aboriginal culture as to something lost, cancelled - something to save as a treasure for the present and for the future. Among the leitmotifs in Oodgeroo’s oeuvre, Perrona highlights the theme of belonging: according to the critic, in the course of the twentieth century the connection with the land was revived by the synergy between indigenous cultures and Western environmental struggles. Over millennia, Australian culture is arguably the culture that has most succeeded in finding a real harmony with the environment; and in Oodgeroo’s work, the theme of belonging is related to healing and strength.
The features discussed by Mudrooroo and Perrona are particularly evident in the short stories included in Oodgeroo’s Stradbroke Dreamtime (1972), a collection of memories from the author’s childhood and traditional Aboriginal stories, colorfully illustrated by the Indigenous artist Bronwyn Bancroft. In the pages of Stradbroke Dreamtime - here translated in Italian for the first time - the link with the land and all living beings, the attachment to Aboriginal culture and natural life style, and Oodgeroo’s educational endeavor are expressed in tones of deep simplicity, refined humor, and suffused hope.
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racismo, por la defensa de su tierra y su gente. Ha indicado un camino, un sueño y una esperanza a los pueblos indígenas de Australia. En el poema Segregación que escribió años antes de que el histórico referéndum de 1967 otorgara a los aborígenes la ciudadanía plena, señala con el racismo y critica, usando las palabras del Papa Francisco en 2018, la “hipocresía de los justos”, que reduce la fe a “costumbre social”. Ha sido poeta, artista y activista política por los derechos de los pueblos indígenas, así como ambientalista y educadora. Durante décadas ha estado considerada una de las voces más significativas de la literatura australiana del siglo XX y es una de las fundadoras de la escritura aborigen contemporánea. Una historia y un camino ejemplar.
Nella poesia "Segregazione" che scrisse pochi anni prima che lo storico referendum popolare del 1967 conferisse agli aborigeni piena cittadinanza, punta il dito contro il razzismo e critica, per usare parole di Papa Francesco del 2018, l"'ipocrisia dei giusti", che riduce la fede ad "abitudine sociale".
È stata poeta, artista, attivista politica per i diritti dei popoli indigeni, ambientalista, educatrice. Da decenni è unanimemente considerata una delle voci più significative della letteratura australiana del Novecento ed è annoverata tra i fondatori della scrittura aborigena contemporanea.
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Busto A.: Nomos – Milan: Museo del 900. 2015.
In questo workshop, l’opera musicale di Fabrizio de Andrè (1940-1999), considerato uno dei più grandi cantautori italiani del Novecento, viene presentata e utilizzata come una fonte preziosa di materiale linguistico e culturale. Le canzoni sono frutto e specchio della nostra cultura, prodotte da parlanti nativi per parlanti nativi, e prive dell’artificiosità che caratterizza molti testi di italiano scritti appositamente per studenti stranieri.
Il workshop propone un training di apprendimento della lingua e cultura italiana, basato sull’ascolto e sull’analisi della canzone "Bocca di Rosa". Spaziando da uno stile melodico ancorché rivoluzionario, alla poesia narrativa, alle immagini, le metafore e le narrazioni, la poesia in musica di Fabrizio De Andrè stimola lo studente non soltanto ad apprendere strutture e vocaboli, ma anche ad esprimere i propri gusti e formulare giudizi argomentati su ciò che legge ed ascolta, attraverso attività guidate di comprensione, conversazione e scrittura.
Questo workshop si rivolge a studenti universitari di livello intermedio e avanzato. Poiché la canzone rappresenta una forma di letteratura familiare ai giovani, da loro fruita ed apprezzata, in questo workshop essa viene proposta come trampolino di lancio per far accostare lo studente alla letteratura, la cultura e la storia italiana, e allo stesso tempo per approfondire la conoscenza della lingua in modo pratico e innovativo.