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L’obiettivo della presente dissertazione è quello di creare un nuovo linguaggio controllato, denominato Español Técnico Simplificado (ETS). Basato sulla specifica tecnica del Simplified Technical English (STE), ufficialmente conosciuta come ASD-STE100, lo spagnolo controllato ETS si presenta come un documento metalinguistico in grado di fornire ad un redattore o traduttore tecnico alcune regole specifiche per produrre un documento tecnico. La strategia di implementazione conduce allo studio preliminare di alcuni linguaggi controllati simili all’inglese STE, quali il Français Rationalisé e il Simplified Technical Spanish. Attraverso un approccio caratteristico della linguistica dei corpora, la soluzione proposta fornisce il nuovo linguaggio controllato mediante l’estrazione di informazioni specifiche da un corpus ad-hoc di lingua spagnola appositamente creato ed interrogato. I risultati evidenziano un metodo linguistico (controllato) utile a produrre documentazione tecnica priva di ogni eventuale ambiguità. Il sistema ETS, infatti, si fonda sul concetto della intelligibilità in quanto condizione necessaria da soddisfare nell’ambito della produzione di un testo controllato. E, attraverso la sua macrostruttura, il documento ETS fornisce gli strumenti necessari per rendere il testo controllato univoco. Infatti, tale struttura bipartita suddivide in maniera logica i dettami: una prima parte riguarda e contiene regole sintattiche e stilistiche; una seconda parte riguarda e contiene un dizionario di un numero limitato di lemmi opportunamente selezionati. Il tutto a favore del principio della biunivocità dei segni, in questo caso, della lingua spagnola. Il progetto, nel suo insieme, apre le porte ad un linguaggio nuovo in alternativa a quelli presenti, totalmente creato in accademia, che vale come prototipo a cui far seguire altri progetti di ricerca. / The aim of this doctoral dissertation is to create a new controlled language: the Español Técnico Simplificado (ETS). Based on the technical specification of the Simplified Technical English (STE), officially known as ASD-STE100, the ETS is a metalinguistic document providing a technical writer or technical translator some specific rules to write, or to translate, a technical document. The implementation strategy leads to a preliminary study of some specific controlled languages similar to the STE, i.e. the Français Rationalisé and the Simplified Technical Spanish. Through the Corpus Linguistics approach, the solution provides a controlled language by extracting linguistic information form a Spanish ad-hoc corpus. The results show a linguistic (controlled) method to produce a technical document which is free from ambiguities. The ETS system relies on the concept that readability and comprehensibility are necessary conditions to be fulfilled by the controlled text. And, through its structure, the ETS document provides all the necessary tools to make that text unambiguous. Therefore, the ETS structure is divided into two parts: one part concerns syntactical and stylistic rules, and one part concerns a dictionary including a limited number of selected lemmas. All rules and lemmas are designed to obey the bijection principle of the Spanish linguistic signs. The project as a whole is intended to exploit a new academic controlled Spanish, privileged in this doctoral endeavor.

Il progetto di dottorato IMITES (Interpretación de la Metáfora entre ITaliano y ESpañol) si pone come obiettivo quello di analizzare l’interpretazione simultanea del linguaggio figurato nelle combinazioni italiano-spagnolo e spagnolo-italiano. Prevede l’analisi di una serie di dati estratti da discorsi pronunciati in italiano e spagnolo in occasione di conferenze tenutesi presso la Commissione europea, e le loro versioni interpretate in spagnolo e italiano rispettivamente. Le espressioni figurate contenute nei discorsi originali sono state allineate e messe a confronto con le versioni fornite dagli interpreti, con il duplice obiettivo di a) capire quali causano maggiori problemi agli interpreti e b) analizzare le strategie di interpretazione applicate da professionisti quali quelli della Direzione Generale Interpretazione (DG SCIC) della Commissione europea nell’interpretare metafore. Il progetto prevede anche la somministrazione di un questionario agli interpreti delle cabine spagnola e italiana del DG SCIC, con l’obiettivo di sondare la loro percezione delle difficoltà che sottendono all’interpretazione del linguaggio figurato, le indicazioni metodologiche ricevute (se del caso) dai loro docenti a tale riguardo e le strategie applicate nella pratica professionale. Infine, l’ultima fase del progetto di ricerca prevede la sperimentazione di una proposta didattica attraverso uno studio caso-controllo svolto su studenti del secondo anno della Laurea Magistrale in Interpretazione delle Scuole Interpreti di Forlì e Trieste. Il gruppo-caso ha ricevuto una formazione specifica sull'interpretazione delle metafore, mentre gruppo-controllo è stato monitorato nella sua evoluzione. L’obiettivo di questa ultima fase di ricerca è quello di valutare, da una parte, l’ “insegnabilità” di strategia per affrontare il linguaggio figurato in interpretazione simultanea, e, dall’altra, l’efficacia dell’unità didattica proposta, sviluppata in base all’analisi svolta su IMITES. / The IMITES (Interpretación de la Metáfora entre ITaliano y ESpañol) PhD project analyses the simultaneous interpreting of figurative language in the Italian-Spanish and Spanish-Italian combinations. It involves the analysis of a data set extracted from Italian and Spanish speeches delivered at conferences held at the European Commission, and their interpreted versions in Spanish and Italian respectively. The figurative expressions contained in the original speeches were compared with the interpreters’ versions, with the twofold goal of a) understanding which ones cause most problems to interpreters and b) analysing the interpreting strategies applied by professionals such as those of the Directorate General for Interpretation (SCIC) of the European Commission in interpreting metaphors. The project also includes the administration of a questionnaire to the interpreters of the Spanish and Italian booths of SCIC, with the aim of investigating their perception of the difficulties that lie in interpreting figurative language, the instructions (if any) received from their trainers in this respect and the strategies they apply in their professional practice. Finally, as a practical outcome of the research, the final step is the experimentation of a didactic proposal based on a case-control study carried out on second-year students of the two-year MA in Conference Interpreting of the School of Languages, Literature, Translation and Interpreting of the University of Bologna at Forlì and the Advanced School of Modern Languages for Interpreters and Translators of the University of Trieste. The case-group received a specific training in interpreting metaphors, while the control-group was monitored in its performance. The ultimate goal of the study was to assess the “teachability” of strategies for tackling metaphors during simultaneous interpretation, as well as the effectiveness of the suggested teaching unit, developed from the analysis carried out on IMITES from a pedagogical perspective.

My thesis focuses on the Italian poet Giovanni Giudici (1924-2011) and specifically on his activity as a translator from Anglo-American poetry, during the decade 1950-1960. I have investigated Giudici’s translations from a twofold perspective. On the one hand, I acquired a detailed overview of the translations, attempting to establish a definitive and accurate chronology of them all – in most cases, the official dates of the individual texts published not coinciding with the later inclusion of the same texts in three separate collections. On the other hand, I analysed the stylistic and literary rendering of the foreign texts, evaluating their specific artistic value and, where relevant, emphasising in what way they are interrelated with Giudici’s original verse. In doing so, I used archival materials, examining drafts and comparing these with the final versions. In my first chapter, I discussed the emerging notion of error and showed how this soon becomes the bridging element between the poet’s alleged amateurish knowledge of the original languages and his hyperconscious conception of the literary practice. The most innovative aspect of this ambiguous poetics is the poet’s tendency to equate poetic language with what he calls ‘strange language’, that is translation itself. While dealing with each foreign text individually and showing how it contributes to the poet’s language and themes (such as, primarily, those of error, of strange language and of mask), I also argued that the translations of the 50s could fall under the category of ‘metaphysical poetry’. Not unlike other poets of his day, Giudici familiarised himself with ‘metaphysical poetry’ through T. S. Eliot, as I showed in my second chapter. I here devoted special attention to Giudici’s work on Eliot and presented some early translations of Eliot by him which have hitherto escaped critics’ attention. In the last two chapters, I analyse other foreign poets he translated, ranging from Donne to Emily Dickinson, from Milton to Pound. Finally, by mapping Giudici’s interests in Anglo-American poetry, my thesis highlights the centrality that translation progressively acquires alongside the production of the original verse and within the use of the poet’s mother tongue.

Il presente lavoro si prefigge di descrivere e analizzare la realtà dell’insegnamento della lingua portoghese nelle università italiane, con particolare attenzione alla presentazione della varietà brasiliana, nel quadro dell’educazione linguistico-culturale in senso lato. Per poter cogliere l’insieme interrelato di fattori che compongono il processo di insegnamento/apprendimento in questa specifica situazione, la ricerca si sviluppa in tre ambiti: i) riflessione sulle varietà della lingua portoghese, basata sugli studi attuali in ambito linguistico e sociolinguistico relativi all’area lusofona, mettendo a fuoco il portoghese brasiliano; ii) ricognizione dell’attuale stato dell’insegnamento del portoghese all’interno degli atenei italiani, attuata tramite una ricerca quantitativa basata su un questionario online; iii) indagine qualitativa sulle pratiche didattiche, in presenza e online, basate rispettivamente sull’analisi dei materiali didattici in uso negli atenei e sull’analisi culturale e linguistica delle interazioni fra studenti in teletandem. L’analisi dei dati ha permesso di tracciare un quadro rappresentativo dell’insegnamento del portoghese nel contesto accademico nonché di delineare percorsi formativi integrativi alle lezioni tradizionali, che mettano in evidenza lo stretto legame fra lingua e cultura, e quindi per meglio contestualizzare l’apprendimento della lingua e della cultura brasiliana in Italia. / This thesis describes and analyses the teaching of Portuguese in Italian universities, paying particular attention to the Brazilian variety. In order to capture the inter-related set of factors composing the teaching/learning process in these particular settings, our research takes three main angles: i) a reflection on the geographical varieties of Portuguese, in particular Brazilian, on the basis of contemporary linguistic and sociolinguistic studies in this area; ii) a survey of the current state of teaching of Portuguese in Italian universities, with quantitative analysis of the results of an online questionnaire; iii) a qualitative account of teaching practices, both face-to-face and online, based respectively on the linguistic and cultural analysis of teaching materials used in universities, and on that of interactions between students working in teletandem. Our work has allowed us to trace a representative picture of the teaching of Portuguese in academia, and to show how online activities can complement traditional teaching, emphasising the links between language and culture and thereby contextualising the learning of the language and culture of Brazil.

La presente ricerca si colloca nel campo della traduzione audiovisiva, poiché riguarda il linguaggio filmico inglese. In particolare, lo studio si focalizzerà sul ruolo dei vocativi presenti in alcune opere cinematografiche. Il lavoro sarà dapprima eseguito sui dialoghi della versione originale e, successivamente, in quelli doppiati in italiano e in tedesco. I tre film che compongono il Corpus sono usciti negli anni ’90 e sono ambientati in epoca vittoriana: Jane Eyre, Swept from the Sea, The Piano. Le forme allocutive osservate sono soprattutto i nomi propri e gli appellativi generici. Attraverso la metodologia della Corpus Linguistics, si svolgerà un’analisi di tipo qualitativo e quantitativo. Infatti, tramite il software AntConc (Lawrence, 2004), si indagherà sul numero e sulla tipologia di occorrenze dei vocativi più frequenti nella lingua di partenza (inglese) e nelle due lingue d’arrivo (italiano e tedesco). Inoltre, si studierà l’eventuale manifestazione degli universali traduttivi (Baker, 1993), osservando contesto linguistico in cui il fenomeno si presenta. L’aspetto innovativo della ricerca consiste in una duplice analisi che coinvolge un triplice confronto. I risultati evidenzieranno una maggiore frequenza di vocativi nelle lingue doppiate e diverse classificazioni di occorrenze. Infine, saranno riportate alcune riflessioni inerenti alle strategie traduttive che sono adottate in italiano e tedesco, a seconda del contesto linguistico e culturale. / This research concerns the field of the audiovisual translation and the English movie language. In particular, the aim of the study will focus on the role of vocatives in a corpus of three films in three different languages. The chosen movies are produced in the '90s and are set in Victorian age: Jane Eyre, Swept from the Sea, The Piano. The empirical process will manly consider two categories of vocatives: proper names and address terms. The study approach will be based on the Corpus Linguistics methodology, in order to get a qualitative and a quantitative analysis of the vocatives. Indeed, there will be an investigation on the number and the type of occurrences involving the most frequent vocatives, both in the source language (English), and in the two target languages (Italian and German). Another important task of the research is the observation of translation universals (Baker, 1993), and the linguistic context in which the phenomenon occurs. The innovative feature of this work is a twofold analysis, which involves a three-way comparison. The results will show a higher frequency of vocatives in the dubbed languages and also different classifications of occurrences. Eventually, there will be some consideration regarding the translation strategies adopted for Italian and German, depending on their linguistic and cultural context.

TORQUATO, Carolina Pizzoto. Eco de vozes: tradução e análise de "As meninas" de Lygia Fagundes Telles. 2007. 351f. - Tese (Doutorado) - Universidade Federal de Santa Catarina, Curso de Pós-Graduação em Literatura, Santa Catarina, 2007. / Submitted by anizia almeida (aniziaalmeida80@gmail.com) on 2016-08-23T13:24:41Z No. of bitstreams: 1 2007_tese_cptorquato.pdf: 2351875 bytes, checksum: b5d6da39922f9f535ff54f1ced9f51e9 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-09-02T14:20:39Z (GMT) No. of bitstreams: 1 2007_tese_cptorquato.pdf: 2351875 bytes, checksum: b5d6da39922f9f535ff54f1ced9f51e9 (MD5) / Made available in DSpace on 2016-09-02T14:20:39Z (GMT). No. of bitstreams: 1 2007_tese_cptorquato.pdf: 2351875 bytes, checksum: b5d6da39922f9f535ff54f1ced9f51e9 (MD5) Previous issue date: 2007 / Esta tese aborda o dialogismo e a polifonia no romance As meninas, de Lygia Fagundes Telles, e suas implicações para a tradução em língua italiana. Dialogando tanto com a teoria literária quanto com a teoria da tradução, o presente trabalho, num primeiro momento, situa a autora na crítica brasileira e contextualiza o romance na sua produção literária; em seguida, o texto em português é confrontado com as duas traduções da obra para o italiano (a minha, inédita, e a de Federico Pesante, publicada em 2006). Os cotejos apresentados enfocam especificamente três problemas que concernem o aspecto polifônico e dialógico de As meninas, a saber: a transição da voz narrativa, o dialogismo entre os pontos de vista das personagens e o diálogo estabelecido pelo romance com as marcas do contexto cultural. O confronto evidencia que as duas traduções do romance, embora contemporâneas e para uma mesma língua, interpretam e lidam com esses aspectos do texto de formas diferentes.

Analisi funzionale-pragmatica di un corpus di conferenze accademiche in lingua tedesca e italiana in riferimento all'utilizzo dei commenti metatestuali

Gli underground comix nascono negli Stati Uniti nell’ambito della Controcultura degli anni Sessanta e Settanta, un periodo di grande rinnovamento culturale, lotte contro qualsiasi forma di autorità, movimenti per la libertà di parola e per i diritti civili. Quella che può dirsi a tutti gli effetti una “rivoluzione” nel mondo del fumetto accompagnò e rese possibili i grandi cambiamenti sociali legati a temi considerati tabù come il sesso, la droga, la satira politica e religiosa. A questi artisti va dunque il merito di aver riscoperto il respiro antagonista e il potere comunicativo del fumetto, liberandolo da compromessi verbali e visuali visivi, e interrogandone coraggiosamente le possibilità espressive. Nel rappresentare la realtà senza filtri e senza mai scendere a patti con i codici sociali e le autoinibizioni che questi inducono, gli underground comix si trovarono a fare i conti con il linciaggio mediatico e con diverse forme di censura, tanto preventiva quanto punitiva. Proprio a partire da questa considerazione, risulta interessante approfondire dal punto di vista linguistico-culturale e retoriconarrativo come questi fumetti sono arrivati in Italia prima attraverso la circolazione sotterranea delle pubblicazioni alternative e poi consacrata nelle edizioni “mainstream” curate dalle maggiori case editrici. Le opere di questi autori costituiscono infatti un caso di studio molto stimolante sia per le questioni sociolinguistiche (jargon) sia per la satira e lo humor impietoso e radicale espressi attraverso una grafica incisiva e dialoghi talora surreali e spesso oltraggiosi. L’obiettivo di questa ricerca è dunque sviluppare un’analisi traduttologica di tale produzione e prevede la raccolta, la disamina e il confronto delle pubblicazioni in lingua italiana di queste opere, prestando particolare attenzione alla resa degli elementi di critica sociale e di avanguardismo che ne caratterizzano lo stile. Presupposto del mio studio è che vi siano politiche editoriali, fattori sociali e ideologici che motivano la scelta di modificare, mitigare o omettere alcuni contenuti ? dialoghi, pensieri e immagini ? nel passaggio ad un’altra lingua e dunque ad un altro contesto socioculturale, nella consapevolezza che la traduzione non è mai innocente o neutrale. Lo studio si articola in tre sezioni. Nella prima parte, viene sviluppata un’indagine storicosociologica del panorama underground americano, dalle origini del fumetto americano e dai fattori che hanno reso questo medium un bersaglio della censura fino alla nascita della controcultura in seno alla quale i fumettisti underground hanno sviluppato la loro poetica. La seconda sezione prende in esame gli strumenti utilizzati per studiare il fumetto in traduzione, sviluppando un framework di riferimento che trae spunto dalle ricerche in campo multimodale, narratologico e semiotico. In particulare, viene investigata la nozione di isotopia, quale interessante strumento di analisi del fumetto come testo sincretico che si incentra sulle relazione di significazione tanto delle immagini quanto delle parole e soprattutto dell’interazione tra codice verbale e visuale. Le isotopie forniscono dunque le istruzioni di lettura (talora prodotte inconsciamente dall’autore) e di resa del profilo semantico di un testo sia in ambito critico che traduttivo. Inoltre, in quanto categoria testuale che congiunge l’aspetto formale e contenutistico, sono l’espressione più diretta dello stile dell’autore. La terza sezione presenta il corpus di fumetti in esame e sviluppa concretamente l’analisi della produzione underground tradotta in italiano seguendo quattro filoni tematici, tra i più controversi all’interno di questo panorama fumettistico: il sesso, la droga, la violenza politica e la religione. Focus dell’analisi contrastiva sono le strategie traduttive, gli approcci ideologici, le politiche editoriali e la possibile censura in traduzione.

Self-translation is a fairly recent branch of studies. Despite its existence as a literary and linguistic phenomenon was proved to date back to ancient times, its practice in the globalized Twentieth Century has lately led scholars (concurrently with the cultural turn in translation studies) to delimit and deepen a field of enquiry that is transdisciplinary in nature, its focus being on multilingual writers who translate their literary works themselves. The phenomenology of self-translation depends on a variety of factors: the type of bilingualism of writers; the geo-political and social standing of the languages involved in their production; the literary traditions they combine; the scopes and consequent strategies for self-translation, etc. As a worldwide phenomenon, thus, self-translation is far from being satisfyingly mapped. For this reason, exhaustively investigated case studies are still needed as a preliminary step for further research leading to universal considerations. Nancy Huston is a prolific bilingual author of both fiction and non-fiction writing, born in Anglophone Canada but living in France since the early Seventies. While secondary bibliography exploring single couples of her self-translated texts presently covers a good deal of her novels, a comparative analysis of the evolution of this practice on a vast span of time was still missing. The aim of the present thesis is precisely to provide such analysis on a selection of Huston’s novels from Plainsong / Cantique des plaines (1993) to Danse noire (2013)/ Black Dance (2014). The thesis is subdivided in two main parts, each of three chapters. Chapter I provides an heuristic overview of self-translation, reporting the most influential bibliographical material that has focused, in turn, on: the theoretical debate ignited by self-translation around the dichotomic relation between ‘originals’ and ‘translations’; the existing typologies of self-translated text; the history of this practice over the centuries; its sociolinguistic assumptions and aftermaths; a short overview of scholars that discourage the thinking of self-translation as a category with its own autonomous epistemology. The last section of the chapter, instead, is devoted to presenting the theoretical and methodological devices that enabled a comparative reading of Huston’s self-translated versions. Jan Hokenson and Marcella Munson’s focus on self-translated versions as a single bilingual text, Marilyn Gaddis Rose’s stereoscopic reading, Anton Fedorov’s functional equivalence and the self-translation categories of Michaël Oustinoff set the basis to analyse Huston’s self-translations (published as autonomous texts) as ‘twin texts’ alongside a chronological axis of development of her aesthetics. Being often described by its performers as a physically and psychologically fatiguing enterprise, self-translation is usually engendered by profound intimate motivations. For this reason, Chapter II is devoted to investigate those motivations in Nancy Huston’s biography. As it is typical of the post-modern, hyper-self-aware writer, Huston has imbued her fiction and non-fiction writing with self-portrayals recounting her childhood in Calgary (e.g., Nord perdu (1999)/Losing North; Longings and Belongings. Toronto: McArthur and Co., 2005); her adolescence in the U.S.A, and the life-changing decision to move to Paris for a Junior Year abroad that actually never came to an end. Tutored by Roland Barthes at the École de Hautes Etudes en Sciences Sociales, Huston became a writer in the French language: first as an essayist for feminist reviews, then, after publishing her thesis (Dire et interdire, éléments de jurologie; Paris: Payot, 1980) and after her marriage with Tzvetan Todorov in 1980, by launching into fictional writer with a debut novel Les Variations Goldberg, that Gérard Genette defines a “petit chef d'oeuvre.” For the following ten years, Huston carries on publishing in French two novels (Histoire d’Omaya. Paris: Seuil, 1985 and Trois fois septembre. Paris: Seuil, 1989), as well as intimist correspondence and essay: Lettres parisiennes. Autopsie de l’exil (Paris: J’ai lu, 1987) and Journal de la création. (Paris: Seuil, 1990). Especially in these latter works, reflections on her ‘voluntary exile’, ‘false bilingualism’ and the revolutionary discovery of motherhood abound. Together with a neurological illness and a psychological crisis in 1986/87, experiencing motherhood and facing the choice of which mother-language to teach to her own daughter, urged Huston to analyse her choice to hibernate into the French language and culture, reaching the conclusion that – although up to a point this language had endowed her with freedom and inspiration – she should nonetheless make an effort to repair the break with her native tongue. English was connected to a traumatic childhood experience: when Nancy was six her parents split up and her mother left the family. Chapter III analyses in-depth the unfolding of Huston’s reasoning on her two languages and the different place they occupy in her mind and in her writing, focusing especially on the first novel she wrote in English (Plainsong) which is incidentally also the first she chose to self-translate and the first one where Canada is recognized as a constitutional element of her identity as a writer. Expatriation and bilingualism ineluctably call for a question and redefinition of a personal sense of identity. Rather than being restricted into non-fictional writing, these phenomena are transformed into literary themes and become an essential features of her novels (in the form of varying motifs). Concurrently, the act of self-translation becomes a compulsory step in her literary aesthetics: « Il y a deux versions de tous mes romans [...] pour moi c’est important qu’il ne manque pas une page ou un paragraphe et que l’éditeur américain approuve ce que l’éditeur français approuve et inversement. Je tiens à ce que les deux versions soient identiques dans la mesure du possible. » The purpose of the Second Part of the thesis is essentially to test this declaration of translating poetics. After having preliminarily compared all the couples of self-translated works, four text where selected that varied significantly for their linguistic genesis and the way in which they were self-translated – but shared the thematic explorations fuelled by Huston’s own bilingual and expatriate standpoint. Hence, Chapter IV illustrates a comparative reading of the novels L’empreinte de l’ange (Arles: Actes Sud, 1998) – first written entirely in French and subsequently self-translated into English as The Mark of the Angel (London: Vintage, 2000). This ‘doxal’ translation exemplifies Huston’s research for equivalence: a balanced care to maintain the prosodic rhythm, the wordplays, the images of the first version whenever possible, and to compensate for those elements that are inevitably lost due to the intrinsic features of each language. In Chapter V, two differently bilingual works are analysed that show how self-translation can be exploited as a creative literary device. The first draft of what later became Instruments of Darkness (Toronto: Little, Brown and Co., 1997) and Instruments des ténèbres (Arles: Actes Sud: 1996) was written alternating chapters in English with an equivalent number of chapters in French. Limbes/Limbo. Un hommage à Samuel Beckett (Arles: Actes Sud, 2000), instead, is a side-by-side edition of two monolingual texts resulting from a bilingual pastiche inspired to Beckett’s writing style and literary poetics. The mutual influence of the two linguistic systems is evident on different textual levels: the prosodic rhythm and the diffused isomorphisms bear witness of an aesthetics of translation aimed at privileging the phonetic body of the text. Chapter VI takes into consideration one the latest twin novels by Huston, Black dance and Danse noire. Symmetrically to the first novel, the first draft was the English one (since part of the novel is set in Montreal); however, a great deal of dialogues were written in Quebec French. The double self-translation resulted in very asymmetrical products. While the Standard English text published in the U.S.A displays only few scattered interferences of the French language, the version whose narrative language is Standard French depicts a richly multilingual panorama, with interjections in German, Portuguese, Quebec French, and local varieties of English. The conclusive remarks are tripartite, focusing in turn on the texts, on the author, and on the wider picture of self-translation in global literature. From a thematic perspective, the novels share an extensive use of polyphony, the constant presence of music, multicultural sets of characters. From a translational perspective, the most evident feature is a constant attention to “phonetical rubbings and rhymings” of each language and for creating equivalent musical patterns in translation. Comparison showed, though, that strategies of self-translation are negotiated from context to context and from text to text, even within the corpus of a single author. As regards the author, self-translation can be read as an aesthetic device for healing the author’s linguistically and culturally fragmented identity: the literary corpus in fact physically redoubles (either from French to English or from English to French), thus fulfilling the fantasy of the other self in the paper, if not in the flesh. In the framework of current research on global literature, eventually, self-translation posits as a practice that overcomes national boundaries and is part of a larger ethical calling.