Yves Bonnefoy traduttore di Shakespeare: il poeta e la prova del dialogo

Contemporary French poet Yves Bonnefoy has always been attracted by English poetry, especially by Shakespeare’s work. Translating Shakespeare’s plays and sonnets has been a fundamental experience for him. The contact with a different culture, a different language and a different sort of poetry has been an important moment in his poetic experience. The dialogue between the French and the Elizabethan poet, which started in the 1950s, hasn't stopped yet and it offers some interesting perspectives to study Bonnefoy's work from a new point of view. Translation – which is first of all a poetic experience to him – is in fact the chance to get in touch with somebody else's poetry and to establish a dialogue with his poetic universe. Such a dialogue requires on the one hand an ‘ethic’ attitude on the translator's part, that is an attentive listening and a deep understanding of the original text. However, Bonnefoy has to create a new ‘poetic’ text in his own language. This is why the ‘seeds’ of his own poetry are also present in his translated texts, in which it is possible to clearly distinguish both the presence of the French poet’s own voice and his attempt to open his ‘speech’ to the specific quality of the Shakespearean poetry. On the other hand, such a deep contact with Shakespeare's work has changed the French poet, contributing to the development and maturity of his own poetry. Indeed, the Elizabethan poet is present in his work in different ways, in his critical essays as well as in his poems. Against this background, the aim of the present study is to define the complex dialogic forms and the osmotic relationships between the poetic experience and the experience of translation, which are considered two different moments of the same ontological research by the French poet.

"Daring to be foolish". L'opera poetica di Robert Kroetsch dal 2001 al 2010

La presente dissertazione si pone come oggetto di analisi la produzione poetica di Robert Kroetsch (1927-2011), scrittore e critico letterario canadese nativo dell’Alberta (Canada), che tra il 1960 e il 2010 ha pubblicato un numero notevole di opere (nove romanzi, più di venti opere poetiche tra componimenti singoli e in raccolta, due volumi di saggi e diverse interviste). In particolare si è scelto di focalizzare l’attenzione sulle ultime tre raccolte di poesia – rispettivamente The Hornbooks of Rita K (2001), The Snowbird Poems (2004) e Too Bad: Sketches Toward a Self-Portrait (2010) – che, se confrontate con la produzione precedente, forniscono prova di alcuni elementi di novità all’interno della prospettiva poetica di Kroetsch. L’ipotesi dalla quale trae origine il presente studio è infatti che, a partire dalla raccolta The Hornbooks of Rita K, Kroetsch abbia imboccato un percorso di evoluzione stilistica che corre in parallelo con la formulazione di una nuova poetica. Nello specifico, si osserva che, negli ultimi dieci anni, da un punto di vista formale i componimenti si frammentano progressivamente, passando da una forma lunga – quella del long poem – a una breve – lo sketch, che risulta più adatta a rappresentare sul piano espressivo una mutata percezione dell’Io poetico. A un simile aspetto si aggiunge poi il fatto che la raffigurazione della propria vicenda umana diventa, con sempre maggiore evidenza, motivo di riflessione su una condizione universale dell’umano e sulla dimensione etica del suo agire.

The Bible in Medieval Love Lyrics: A Fundamental Element of European Poetry Books

The focus of this study is the relationship among three different manuscripts (Modena, Bibl. Estense, MS α.R.4.4; Firenze, Bibl. Laurenziana MS Rediano 9; and London, BL, MS Harley, 2253) and the poetry they transmit. The aim of this research is to show the ways that the Bible was used in the transmission of the lyric poetry in the three literatures that they represent: Occitan (primarily through Marcabru’s songs), Italian (through the love poetry of Guittone d’Arezzo), and Middle English (through the Harley love lyrics and the MS.’s primary scribe), in a medieval European context.