Texte remanié de: Tesi dott.--Université de Paris-Sorbonne. / Originally presented as the author's thesis (doctoral--Università di Paris IV-Sorbonne). Bibliogr. p. 301-313. Index.

Thesis Ph. D.--Faculty of Arts--Zürich--University, 2006. / Bibliogr. p. 285-292.

Melchiorre Cesarotti (1730-1808) produced a blank verse translation into Italian of the rhythmic prose of James Macpherson's Ossian. On the basis of the numerous amendments to be found the three subsequent Italian editions of the Ossian (Padoa 1763 and 1772, Pisa, 1801), it could never be ascertained which English editions had served as source text for Cesarotti's translations and whether Italian variations could be led back to similar variations in the the English texts, or whether they were rather the independent and unwarranted work of the Italian translator. Our first successful search enabled us to clarify the nature of Cesarotti's role, somewhere between that of a translator and of a deft stylist looking for a new language for Italy's infant Romanticism. The first part of this dissertation is explanatory, critical and historical, it is followed by thorough appendixes, listing variants and cross-references leading back to the English original texts. The whole makes up a philological apparatus which will be put to use in the forthcoming publication of the Italian and English ossianic texts, side by side.

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The following work consists of a careful analysis of the translation of the Iliad by Homer prepared by Melchiorre Cesarotti. Caught amidst the dilemma of loyalty to the original and the beauty of translation, Cesarotti decided to compose two versions: one in blank verses and the other in prose. This work is therefore none other than a comparison between Cesarotti's version in poetry and the version in prose. / The first part deals briefly with a few details on the criticism that Cesarotti's work raised. / The second part consists of the comparison work, which is subdivided in "Canti" (as Cesarotti's version in poetry) because the work proposes to compare the version in poetry to the version in prose and not vice-versa. / The last part examines the artistic value of Cesarotti's translations and the place they occupy in Europe in the eighteenth century.

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