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• W4385743912 abstract "Dante in L.A.:Dislocating Inferno in Translation Alberto Gelmi Do you think she murmured it is absolutely necessary to translate it? —Samuel Beckett 1. Retranslating Dante Despite a significant delay compared to other European languages, English has no dearth of partial or complete translations of Dante's Commedia. Since 1782, no fewer than 130 translations have become available in bookstores across the Anglosphere, with nearly 30 of those appearing between 2000 and 2020.1 Across this vast array, each translator has a unique profile: scholars who bring in their erudition and expertise in medieval matters (e.g. Singleton, Mandelbaum); intellectuals with no specific training in Italian studies (e.g. Clive James); ones who blur such distinctions (e.g. Longfellow, Ciardi); or collaborators with two sets of talents—in the case of Hollander and Hollander, Robert was a world-famous expert in Dante studies; Jean, a poet. This abundance is a double-edged sword. It can ease the pressure on the translator, as libraries are full of many different commedie for many different audiences. First-time readers can opt for agile yet well-informed editions (e.g. Musa) while college students can delve into more academic works with a robust note apparatus (e.g. Hollander and Hollander); readers who go back to Dante a second or third time can [End Page 1] perhaps venture into the highly poetic version by Longfellow or the idiosyncratic adaptation by Carson. The situation is not too different for the Italian market: De Rienzo and Sermonti have assembled editions that guide the non-specialist reader both linguistically and historically; at the opposite end of the spectrum, Inglese still quotes Latin texts without translation.2 This same abundance can also become a burden, however—it means competition is tough, both on an artistic and a marketing level. One can easily imagine the paralyzing impasse facing the translator when he or she contemplates the scope of the enterprise, the complexity of the text, and its place in the canon and on the market. Talking about translations of the Bible—another text that is hyper-translated—Marc De Launay aptly compares the dread facing the translator to the gaze of a gorgon, freezing in stone anyone who looks upon her (3).3 While of course translation is always a challenge, retranslation carries responsibilities and demands that are different from the initiation of an author into a new language and a new culture. Whenever we approach a new rendition of Dante, we have to locate the effort amidst a wider network of existing versions, each connected to the others by a set of tensions, rivalries, and complementarities.4 Over the years, the translation by Sandow Birk and Marcus Sanders of Dante's Divine Comedy (2004–5) has attracted the attention of critics such as Deborah and Mark Parker, Kristina Olson, and Peter Hawkins. For the most part, their insightful analyses have concentrated on the paratextual apparatus of the translation—namely, the stunning illustrations that accompany each canto.5 This essay will focus instead on the linguistic and textual strategies that Birk and Sanders employ, including three strategies of mediation between the medieval text and its present-day readers: the relocation of the erudite apparatus, the amplification of the comic register, and the dislocation in space and time of the medieval Italian poem into a contemporary American setting. The essay concludes by looking at Canto 26, arguing that Birk and Sanders, by highlighting the self-reflective nature of the episode and incorporating a different sense of time, transform Dante's poem into a bleak portrait of the United States at the beginning of the millennium. In his study of the art of translating Dante, Theodore Cachey imagines that the pendulum of the translator oscillates between hermeneutics and poetics.6 In order to assess the length and the nature of this interval, [End Page 2] this essay adopts Lawrence Venuti's understanding of translation as a hermeneutical space that resists instrumentalism and literal equivalence. Following Venuti, we propose to: STOP thinking of source texts in terms of translatability and untranslatability and of translation as involving loss or gain. START thinking of translation as an interpretive act that can be performed on..." @default.
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• W4385743912 date "2022-01-01" @default.
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• W4385743912 title "Dante in L.A.: Dislocating Inferno in Translation" @default.
• W4385743912 doi "https://doi.org/10.1353/das.2022.a903954" @default.
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