STUDENT NO: 9811739R MASTERS HUMANITIES / ABSTRACT The objective of this paper is to investigate how linguistic variations in a literary text can be translated by analysing and comparing the strategies employed by two different French translators when dealing with the works of the Italian author, Andrea Camilleri. Much has been written about the possibility/ impossibility of translation itself, with many writers and critics taking opposing sides on the issue. The intention of this study is not to fuel or further this, in our view, sterile discussion. The point is that translations do exist and have existed for thousands of years: that is, texts in one (source) language have in some way been recreated and rewritten into another (target) language1. By contrast, what has been explored only superficially is how linguistic variations and dialects present in literary texts have been reproduced in the target language. Textual analyses relative to this study will be carried out on selected passages of two different novels (one for each translator). 1 The abbreviations SL and TL will be used to indicate ‘source language’ and ‘target language’ respectively, while ST and TT will be used to indicate ‘target text’ and ‘source text’.

The purpose of this study was to conduct a sociolinguistic analysis of the regional Italian of Sicily in Andrea Camilleri’s Un mese con Montalbano (A Month with Montalbano). The lexical portion of a model developed by Sgroi (1990) to examine the use of regional Italian in literature was applied to the thirty short stories in Camilleri’s text to isolate the components of this variety. The study also attempted to identify the socio-economic features of the characters who speak regional Italian, the contexts of use of this variety and what the regionalisms in the stories indicate about Italy and the speech of Italians. The model revealed that Camilleri utilizes three main types of language to regionalize his prose: Sicilian Italian regionalisms; phonological adaptations of Sicilian dialect terms; and, hyperfrequent Italian words. The regional terms comprise only 24.4% of the lexemes identified by the model, while 40.4% represent Italianizations of Sicilian dialect that may be artistic adaptations of the author. A surprising 33.4% of the terms are standard Italian words that appear to have been chosen by Camilleri due to their similarity to equivalent Sicilian dialect terms. With respect to the sociolinguistic aspects of the study, the findings were somewhat problematic owing to the nature of the mystery genre. Specifically, middle-aged policemen and police-related contexts of use are disproportionately represented in the stories. Nevertheless, it was determined that regional Italian is spoken by male and female characters who represent a wide range of ages and occupations. Furthermore, results illustrated that regionalisms are uttered most frequently in professional, public and formal contexts. The requisites of the mystery genre also affected the findings in regard to Camilleri’s portrayal of Italy and Italian speech. Much of the regional language used in the text exaggerates the criminal aspects of Italian society and the expressive quality of this variety. In a more realistic vein, however, many regionalisms emphasize the multi-cultural makeup of the country and the intangible facet of Italianness. In general, the textual analysis indicates that regional Italian is a complex variety which may enjoy a broader usage in contemporary Italy than the traditional dialects. / text

This dissertation discusses Italy’s bestselling author Andrea Camilleri’s series of Montalbano crime novels. It poses the question of what makes Camilleri’s series so successful in the contemporary literary marketplace and if his success is a representation of Italian culture (and by extension, the postmodern or post-postmodern Italian literary scene). This dissertation deals with Camilleri and his success from a narrative literary point of view. It examines Camilleri’s work from several different perspectives, placing it within the vaster context of Italian literature while also taking a meticulous look at Camilleri as the author who has managed to free a literary genre from its previous confines and opened new boundaries for Italian literature. The dissertation demonstrates how Andrea Camilleri provides a "security blanket" for his readers: by including many elements of a common cultural memory, he keeps his readers safely anchored. These elements include a long list of recurring characters that function almost like the chorus in a Greek play. Certain thematic elements, such as Montalbano’s perpetual search for Justice, and his struggle to combine the written law with the law of men are a topoi of Western literature, as are the antonyms eros/thanatos as well as food and death, which Camilleri heavily employs. The Sicilian author manages to root his work deeply within a literary tradition through direct citations, and explicit and implicit references to the canon, but also breaks new ground and manages to move Italian literature a step forward. In front of this apparently nostalgic background, the Sicilian author plays with and invents many new components in his works, satisfying thus the Italian need for the "known" with the pleasure of a discovery of the "unknown" or the "new", which is a major reason for his success. Camilleri participates in a (post)modern shift of horizons, but does not radically challenge his reader’s "expectations". His series of Montalbano mysteries presents literature of a high level that almost by chance becomes part of an "immediate" literary canon, but does not set out with the ambition to become part of "the canon". / Romance Languages and Literatures

In my Thesis I deal with the translation theory based on the work and novels of the Sicilian writer Andrea Camilleri. Analyzing his Czech translations, and comparing them with the experiences and models from Alice Flemrová and Kateřina Vinšová when interpreting the typical Camilleri style. My observations were based on the author's life and what shaped him into the entity known by his readers.

Esta dissertação tem como objetivo analisar e discutir os romances-ensaios O Dia da Coruja e A Cada um o Seu, de Leonardo Sciascia, em perspectiva comparada com as narrativas policiais A Forma da Água e O Ladrão de Merendas, de Andrea Camilleri, no que diz respeito aos traços estilísticos, históricos e temáticos das obras em foco. Na pesquisa, refletiu-se sobre a utilização da estrutura do romance policial como estratégia de composição empregada pelos dois autores sicilianos, a fim de criticarem a realidade sociopolítica italiana dos últimos 50 anos. Ao final, apontam-se diferenças e identidades existentes entre os citados títulos e se conclui que, L.Sciascia, em tom amargo e incisivo, deu à matéria de seus romances um perfil tanto de narrativa ficcional quanto de ensaio político-filosófico, com o objetivo de denunciar, em seus pseudo-gialli, não apenas crimes, mas, principalmente, a falta de ética no seio da justiça de seu país. Já A.Camilleri eternizou seu perfil de escritor giallista, criando a figura do inspetor Salvo Montalbano e ao lançar mão do recurso do riso sério. Tal artifício não invalidou, ao contrário, sublinhou ironicamente a denúncia a toda forma de criminalidade, de corrupção e de abuso do poder, na fictícia Vigata, espaço imaginário representativo da Sicilia e da Itália / Esta disertación tiene como objetivo analizar y discutir las novelas- ensayos O dia da coruja y A cada um o seu, de Leonardo Sciascia, en perspectiva comparada con las narrativas policíacas A forma da água y O ladrão de merendas, de Andrea Camilleri, en lo que se refiere a los rasgos estilísticos, históricos y temáticos de las obras en enfoque. En la investigación, se reflexionó sobre la utilización de la estructura del romance policíaco como estrategia de composición empleada por los dos autores sicilianos, a fin de criticar la realidad sociopolítica italiana de los últimos 50 anos. Al final, se señalan diferencias e identidades existentes entre los citados títulos y se concluye que, L.Sciascia, en tono amargo y vehemente, dio al contenido de sus romances un perfil tanto de narrativa ficcional como de ensayo político- filosófico, con el objetivo de denunciar, en sus pseudo-gialli, no solo crimines, sino, principalmente, la falta de ética en el seno de la justicia de su país. Ya A.Camilleri eternizó su perfil de escritor giallista, creando la figura del inspector Salvo Montalbano y al usar el recurso de la risa seria. Tal estratagema no invalidó, al revés, señaló irónicamente la denuncia a toda forma de criminalidad, de corrupción y de abuso de autoridad, en la ficticia Vigata, espacio imaginario representativo de Sicilia e Italia

Esta dissertação tem como objetivo analisar e discutir os romances-ensaios O Dia da Coruja e A Cada um o Seu, de Leonardo Sciascia, em perspectiva comparada com as narrativas policiais A Forma da Água e O Ladrão de Merendas, de Andrea Camilleri, no que diz respeito aos traços estilísticos, históricos e temáticos das obras em foco. Na pesquisa, refletiu-se sobre a utilização da estrutura do romance policial como estratégia de composição empregada pelos dois autores sicilianos, a fim de criticarem a realidade sociopolítica italiana dos últimos 50 anos. Ao final, apontam-se diferenças e identidades existentes entre os citados títulos e se conclui que, L.Sciascia, em tom amargo e incisivo, deu à matéria de seus romances um perfil tanto de narrativa ficcional quanto de ensaio político-filosófico, com o objetivo de denunciar, em seus pseudo-gialli, não apenas crimes, mas, principalmente, a falta de ética no seio da justiça de seu país. Já A.Camilleri eternizou seu perfil de escritor giallista, criando a figura do inspetor Salvo Montalbano e ao lançar mão do recurso do riso sério. Tal artifício não invalidou, ao contrário, sublinhou ironicamente a denúncia a toda forma de criminalidade, de corrupção e de abuso do poder, na fictícia Vigata, espaço imaginário representativo da Sicilia e da Itália / Esta disertación tiene como objetivo analizar y discutir las novelas- ensayos O dia da coruja y A cada um o seu, de Leonardo Sciascia, en perspectiva comparada con las narrativas policíacas A forma da água y O ladrão de merendas, de Andrea Camilleri, en lo que se refiere a los rasgos estilísticos, históricos y temáticos de las obras en enfoque. En la investigación, se reflexionó sobre la utilización de la estructura del romance policíaco como estrategia de composición empleada por los dos autores sicilianos, a fin de criticar la realidad sociopolítica italiana de los últimos 50 anos. Al final, se señalan diferencias e identidades existentes entre los citados títulos y se concluye que, L.Sciascia, en tono amargo y vehemente, dio al contenido de sus romances un perfil tanto de narrativa ficcional como de ensayo político- filosófico, con el objetivo de denunciar, en sus pseudo-gialli, no solo crimines, sino, principalmente, la falta de ética en el seno de la justicia de su país. Ya A.Camilleri eternizó su perfil de escritor giallista, creando la figura del inspector Salvo Montalbano y al usar el recurso de la risa seria. Tal estratagema no invalidó, al revés, señaló irónicamente la denuncia a toda forma de criminalidad, de corrupción y de abuso de autoridad, en la ficticia Vigata, espacio imaginario representativo de Sicilia e Italia

The purpose of this paper is to show the similarities between two authors, who both have been very successful in Italy and abroad. They are the 14th century writer Giovanni Boccaccio and the contemporary author Andrea Camilleri. I compare five short stories by Camilleri published in his books Gran circo Taddei and La regina di Pomerania and five short stories from Decameron. My aim is to show that they, although more than 600 years apart, have a common angle of approach when it comes to describing how women, seemingly subordinate and compliant, not rarely manage to achieve their aim even if it is trivial, low and not at all focused on changing the world. I also want to elucidate the fact that both writers not rarely let their female characters act as accomplices, that there is a female solidarity between them and that they seem to hav an energy and vigour that men seem to lack. The man on the other hand is often described as weak, as a false authority, who changes into a tool, a diversion in the hands of the woman. Besides this I make an analysis of the "false" short story by Boccaccio, Antonello da Palermo, written by Camilleri to see if it can fall into the genre of rewriting of classical works, which is typical of postmodernism, simply if it fulfills the criteria of such a rewriting.