Phaeton's Flight, Adonis's Trial, and Minerva in the House of Envy: Lodovico Dolce between Ovid and Ariosto
Introducing Thyeste: Tragedia da Seneca (1547), the Venetian writer Lodovico Dolce (1508-68) defines the art of translating a book as an experience that lives in the perspective of the becoming [...] because in order to translate, it is necessary for us to take another language or (if possible) ano...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Iter Press
[2016]
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| In: |
Renaissance and reformation
Year: 2016, Volume: 39, Issue: 2, Pages: 27-60 |
| RelBib Classification: | AG Religious life; material religion KBJ Italy TB Antiquity TJ Modern history |
| Online Access: |
Volltext (Verlag) |
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| 520 | |a Introducing Thyeste: Tragedia da Seneca (1547), the Venetian writer Lodovico Dolce (1508-68) defines the art of translating a book as an experience that lives in the perspective of the becoming [...] because in order to translate, it is necessary for us to take another language or (if possible) another human nature. This article presents three case studies where the nexus between Ludovico Ariosto's Ovidianism and Dolce's Ariostism becomes an example of the stylistic and editorial relationship between word and image, as well as a paradigmatic explanation of the dynamics and strategies of reception in the early age of print. The aims of this exercise are the following: (1) to investigate the important mediation of Ariosto's epic-chivalric model for the translation of the classics into vernacular and for the canonization of texts through their publication; (2) to study the man-to-man combat between Dolce's writing, Ariosto's pattern, and Ovid's Metamorphoses, and the way it develops from the Stanze nella favola di Venere e Adone (1545) to the thirty cantos of the poem Le Trasformazioni (1553); (3) to analyze the history of the illustrations in Ariosto's Cinque canti from the perspective of the interaction between words and images, modes of writing and reading, and modes of invention and reception. | ||
| 520 | |a En présentant Thyeste. A tragedy from Seneca (1547), l'écrivain vénitien Lodovico Dolce (1508- 1568) définit l'art de traduire un ouvrage comme une expérience de transformation puisque traduire implique d'adopter une autre langue, voire (si possible) une autre nature humaine. Cet article présente trois études de cas dans lesquelles la juxtaposition de l'ovidisme de L'Arioste et de l'ariostisme de Dolce devient l'exemple d'une relation stylistique et éditoriale entre le mot et l'image, ainsi qu'un cadre paradigmatique pour comprendre les dynamiques et les stratégies de la réception durant les débuts de l'imprimerie. Cette étude a trois objectifs : 1) explorer l'importance du modèle épique et chevaleresque de L'Arioste pour la traduction des classiques en langue vernaculaire et pour la « canonisation » de ces œuvres par leur publication ; 2) examiner le combat au corps entre l'écriture de Dolce, le modèle de L'Arioste et les Métamorphoses d'Ovide, ainsi que le développement menant des Stanze nella favola di Venere e Adone (1545) aux trente chants du poème Le Trasformazioni (1553) ; 3) analyser l'histoire des illustrations des Cinquecantide L'Arioste du point de vue de l'interaction entre mots et images, des modes d'écriture et lecture, ainsi que des modes d'invention et de réception. | ||
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