If Fitzgerald, unlike many of his American colleagues who lived there, did not fall under Italy's spell (to put it mildly), Italy has gradually fallen under Fitzgerald's spell, from Fernanda Pivano's 1950 translation of Gatsby to Baz Luhrmann's 2013 popular film adaptation of the book. "The 'Gatsby effect' in Italy," notes Balestra in the introduction, "constitutes an example of the universal value of the book and of its transcultural dimension" (8).2 Prompted by the fact that literary translations and cinematic adaptations contributed heavily to the growing frenzy surrounding Gatsby, she concentrates upon the interlinguistic and intersemiotic transpositions of Fitzgerald's novel. The editor of Roberto Serrai's 2011 Italian translation of The Great Gatsby, Balestra presents her argument in elegant prose, showing the many ways in which the book evolved through multiple intercultural and intermedial transformations. Riflessi is divided into three dense and well-researched sections: the first one is dedicated to an analysis of the novel's most famous themes; the second part explores the transnational perspective of Gatsby, with a detailed investigation of its many Italian translations starting from Cesare Giardini's in 1936, one mostly unnoticed by Italian readers; and the third part deals with the book's intersemiotic translations (for film, theater, and music, as suggested by the title).
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