La traduction des textes de théatre. Analyse comparée des réalités contemporaines française et italienne

The aim of the present study is to address contemporary drama translation by comparing two different scenarios, namely France and Italy. For each country, the following areas are described: publications of translated drama texts, their promotion and dissemination, the legal framework concerning copyright in publication and performance contracts. Moreover, the analysis highlights that the translation process of drama texts is part of a working cycle networking different professional figures, such as dramatic authors, directors, actors and publishers. Within this cycle, the translator is in a middle and central position at the same time, a sort of border zone between different contexts, i.e. the source language and culture and the target language and culture. As regards translation-related issues, on the basis of theoretical approaches that can be applied to drama translation, a number of translators’ opinions, statements, positions and practices are compared, thus highlighting an idea of drama translation wavering between translation and adaptation. Drama translators seem to follow these two orientations simultaneously, in compliance with translation ethics and the functional needs of target texts. Such ambivalence is due to the desire and difficulty of translating the specific nature of drama texts, i.e. translating textual elements that are linked, eventually, to stage performance. Indeed, the notion of text or form fidelity is replaced by the notion of fidelity to the theatrical value of a text, in terms of fidelity to its theatrical nature and rhythmical tension. The analysis reveals that drama translators work together with theatre operators, and that in many cases translators are authors, directors or actors themselves. These drama skills enable translators to apply relevant strategies when translating elements that generate rhythm, thus choosing from deleting, reproducing or recreating.

Metamorphoses of Endymion and Selene: Dominance, Objectification, and Necrophilia

The aim of the research is to understand the transformations of the myth of Endymion and Selene from the Ancient World to the Contemporary Times with regard to the intersection of dominant femininity and objectified masculinity. The final goal is to show how these two macro-concepts have been represented according to a dialectical mechanism of cultural constants and variations of which the myth stands as a privileged plane of study. This connection will be explored in detail alongside with the eroticization of the sleeping and dead male body, to which its erotic agency is to be restored, by a woman who explicitly shows an erotic desire towards him. These two marginal desires are analysed from the point of view of the dialectic antagonistic to hegemony, and their expressive effects are examined in different media: literary, artistic, cinematographic. This relationship between the two lovers is marked by a significant presence of death that in the first part of the thesis is called female proto-necrophilia, while in the last part is named female necrophilia. The relationship that is in established between the two is a clear example of how anti-normative desires have undergone numerous attempts of neutralization and have increasingly become an expression of the medicalization of the uncanny. Female necrophilia is in fact the last step of a mythical romance that undermines the normative and hegemonic construction of ordinariness, but at the same time manifests its expressive and irrepressible power throughout the literature and arts of the Global North. To examine this in depth, the research is divided into five chapters.