Thesis--Wisconsin. / Vita. Includes bibliographical references (leaves 228-240).

Two characteristics prevail in the works of Natalia Ginzburg: the tendency towards reduction and the tendency towards repetition. Reduction and repetition resemble each other; they are analogous, complementary; both are efficient and dramatic means to express a reality which is partial and incomplete and to underline the inherent obscure suffering which results from that reality. Although Natalia Ginzburg does not belong to any of the various literary trends (and, in particular, not to neo-realism which coincides chronologically with the beginning of her career), she interprets a sorry and limited world and bears sensitive witness to its loneliness, to its "male di vivere". In this sense, Natalia Ginzburg's works, although not in the mainstream of literary currents, touch the heart of modern literary sensibility. / This is, in brief, the thrust of my thesis.

Diss. phil.-hist. Bern (kein Austausch). / Bibliogr.

No description available.

Freiburg (Breisgau), Universiẗat, Diss., 1999.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

In this thesis a comparison is being made between two different translations into Swedish of the Italian novel Lessico famigliare by Natalia Ginzburg from 1963. The first translation (Familjen) was published in 1981 and was made by Ingalisa Munck and the second (Familjelexikon) was made by Johanna Hedenberg and published in 2021. Due to the limited scope of the project, samples to be studied based on qualitative analysis have been chosen from the source text. The main focus has been on the strategies employed by the translators when it comes to culturespecific elements, how they have chosen to deal with dialects and idiolects in the novel, and how they have chosen to deal with foreign words in the text. Some other aspects have also been taken into account, such as rhythm and structure of the text for instance. One aim has been to see if it were possible to discern to what extent, on the basis of the chosen strategies, the translated texts could be considered as adapted to the receiving culture (strategy of acceptability) or as preserving the languageculture of the source text. However, great attention has also been directed towards other factors such as differences due to the time span between the two translations or the individuality of the translator.          The analysis has shown that both of the translators show tendencies to move between the above-described attitudes toward the original text, but that the translation by Munck from 1981 shows less adherence to the original text and a more open attitude to freer translation alternatives. The most obvious example of this is the total restructuring of portions of the source text, reconstruction of sentences and formation of new paragraphs. The translation by Hedenberg demonstrates a will to adhere the source text in all these respects, sometimes also replicating its musicality, rhythm and alliterations. However, as shown by the comparison between individual examples, elements of the two attitudes can be found in both translations. It is not possible to reach a full conclusion based on a qualitative analysis.           Furthermore, the rendition of foreign words suggests that the translators have been working with different types of model readers in mind: Munck with a reader that values the mixing of languages in the novel and the rendering of the bourgeoise Italian culture of the Levi family (and/or with a greater comprehension of French) and Hedenberg with a reader with a greater interest in understanding the text without being disturbed by elements of French in the dialogue – and/or with a lesser knowledge of the French language.          Based primarily on the treatment the word “negro”, observations were made about the ageing of translations and the taboos they can reveal in a specific culture.

Seminario para optar al grado de Licenciado En Lengua y Literatura Hispánica. / En el presente informe, teniendo en cuenta que lo señalado atañe a Natalia, como punto de partida, reconocemos al narrador- personaje como la voz de un „huérfano‟, entiéndase sujeto que ha vaciado su contenido ( las categorías dadas por la tradición que sustentan a un sujeto pleno) con el propósito de exhibir su carencia primigenia, activada por el golpe militar de 1973.

Este estudo parte de características das narrativas da escritora italiana Natalia Ginzburg (1916-1991) sublinhadas pela crítica especializada, como a abordagem de temas cotidianos, a presença de personagens embotados, a inexistência de atos melodramáticos e a ausência de grande tensão narrativa. O estilo da escritora é apresentado pela crítica como simples e direto, ocupando lugar secundário nas análises. Por isso, o objetivo central deste estudo é realizar uma análise estilística da obra de Natalia Ginzburg, destacando as técnicas narrativas empregadas. Para embasar esta abordagem discute-se o conceito de estilo simples proposto por Enrico Testa; os conceitos de sfondo, primo piano, ritmo narrativo, rilievo narrativo e tensão narrativa propostos por Harald Weinrich; e os conceitos de sumário narrativo e cena propostos por Norman Friedman. O estudo detalha a presença destas técnicas narrativas em dois romances de Natalia Ginzburg, Lessico famigliare e Le voci della sera, e as utiliza como principal forma de interpretação das narrativas da escritora. / This research starts with characteristics of Italian writer Natalia Ginzburg\'s (1916-1991) narratives highlighted by specialized critics, such as focus on everyday themes, the presence of blunted characters, lack of melodramatic acts, and the absence of narrative tension. The specialized critics presents the writer\'s style as simple and direct, holding a secondary position in the analyzes. Therefore, the central purpose of this research is to perform a stylistics analysis of Natalia Ginzburg\'s work, highlighting the narrative techniques adopted. To perform this approach the research discusses the concept of simple style by Enrico Testa; the concept of sfondo, primo piano, ritmo narrativo, rilievo narrativo and narrative tension proposed by Harald Weinrich; and the concept of summary narrative and scene proposed by Norman Friedman. The research details the presence of these narrative techniques in two novels, Lessico famigliare and Le voci della sera, and use them as main form of interpretation of the writers narratives.

Este estudo parte de características das narrativas da escritora italiana Natalia Ginzburg (1916-1991) sublinhadas pela crítica especializada, como a abordagem de temas cotidianos, a presença de personagens embotados, a inexistência de atos melodramáticos e a ausência de grande tensão narrativa. O estilo da escritora é apresentado pela crítica como simples e direto, ocupando lugar secundário nas análises. Por isso, o objetivo central deste estudo é realizar uma análise estilística da obra de Natalia Ginzburg, destacando as técnicas narrativas empregadas. Para embasar esta abordagem discute-se o conceito de estilo simples proposto por Enrico Testa; os conceitos de sfondo, primo piano, ritmo narrativo, rilievo narrativo e tensão narrativa propostos por Harald Weinrich; e os conceitos de sumário narrativo e cena propostos por Norman Friedman. O estudo detalha a presença destas técnicas narrativas em dois romances de Natalia Ginzburg, Lessico famigliare e Le voci della sera, e as utiliza como principal forma de interpretação das narrativas da escritora. / This research starts with characteristics of Italian writer Natalia Ginzburg\'s (1916-1991) narratives highlighted by specialized critics, such as focus on everyday themes, the presence of blunted characters, lack of melodramatic acts, and the absence of narrative tension. The specialized critics presents the writer\'s style as simple and direct, holding a secondary position in the analyzes. Therefore, the central purpose of this research is to perform a stylistics analysis of Natalia Ginzburg\'s work, highlighting the narrative techniques adopted. To perform this approach the research discusses the concept of simple style by Enrico Testa; the concept of sfondo, primo piano, ritmo narrativo, rilievo narrativo and narrative tension proposed by Harald Weinrich; and the concept of summary narrative and scene proposed by Norman Friedman. The research details the presence of these narrative techniques in two novels, Lessico famigliare and Le voci della sera, and use them as main form of interpretation of the writers narratives.