Considered as a Gallicism by Italian purists in the late 18th and early 19th centuries, the French term génie caused extensive debates about its different meanings and the way to translate it. This article aims to explore in detail the large semantic palette used by three Italian translations which appeared in the first half of the 19th century of the Génie du christianisme (1802) by François-René de Chateaubriand. The comparative analysis is preceded by a general overview of the 19th century Italian translations of Chateaubriand’s masterpiece, taking into great consideration the profile of the translators and the context of publication as well.
Le mot génie dans l'œuvre maîtresse de Chateaubriand
PISELLI, FRANCESCA
2016
Abstract
Considered as a Gallicism by Italian purists in the late 18th and early 19th centuries, the French term génie caused extensive debates about its different meanings and the way to translate it. This article aims to explore in detail the large semantic palette used by three Italian translations which appeared in the first half of the 19th century of the Génie du christianisme (1802) by François-René de Chateaubriand. The comparative analysis is preceded by a general overview of the 19th century Italian translations of Chateaubriand’s masterpiece, taking into great consideration the profile of the translators and the context of publication as well.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
