Did you know that the Italian language is based on the Florentine dialect?
In essence, the standard Italian of today comes from fourteenth-century Florentine vernacular, purified by its local connotations.
But in fact,
since the end of the fourteenth century the language that was used in Florence had dissociated itself from this linguistic model, which was later codified by non-Florentine literati, from Pietro Bembo in "Prose della Volgar Language".
From the second half of the sixteenth century it was used for writing across the country and right from this stage the historians of the language began to speak of "Italian."In case you are interested in the Italian langauge
was the everyday language for a few.
In the second half of Alessandro Manzoni he proposed to "wash clothes in the Arno", that it is to adopt the Florentine as the official language of Italy, but ignoring the fact of more "dialectal aspects", so that there could be a common language, given that Italy was about to become a nation; that’s what was proposed by his most important work, "The Betrothed".
In addition to political unification, and the First World War, that which was essential in the diffusion of the language was then the advent of television.
Taking a step back, the first poet in the Italian language is considered Dante Alighieri, but in fact the first poems in the vernacular were of Francis of Assisi and Jacopone.
In the work "De vulgari eloquentia" Dante analysed the "question of the vernacular", calling the attention of intellectuals of the time on what could be the literary language to be adopted.
Although in the end it was the Florentine Italian that was chosen and "purified", Dante identified in the vernacular of the literati of all Italian cities that this was the best solution.
But what about “standard Italian”?
One wonders then how it is defined today.
It is understood as the linguistic norm for communication that there are several definitions of standard Italian, for example, Darden (2005), calls it "a language that has been artificially levelled as a result of contacts with other varieties and to 'normalising action sets mainly from political power".
According Bonomi (2010), however, is defined as the language inherited from literary tradition, described in grammars and taught in schools and foreigners.
"To conclude, we must not forget the fact - emphasised by scholars in the field - that the standard in speech is owned by a very limited number of speakers (about 1% of the population): actors of cinema and theatre, voice actors, radio and television announcers who have completed courses in diction, some teachers and professors particularly sensitive topic.
Let's talk about Italian Translation.
Funnily enough, when I go abroad in some cities, people present me with a book that I have translated.
The often show the Italian edition to which I say that I wrote that text! When they present me with the English version I say “we wrote it together, another translator and I”
Literary translation is in fact a real re-creation; It is a linguistic and poetic work, the transformation of something into something else, which also maintains its originality and its uniqueness.
To say almost the same thing, Umberto Eco wrote; that is almost the adventurous space to recreate.
Italian Translation services are both impossible and necessary, they wrote so many years ago two Germanists Trieste, Guido and Guido Cosciani Devescovi; in this sense it resembles life and the need to get the sense of the ever-elusive. In the words of Schlegel, the inventor of Romanticism, it is the first form of literary criticism, because surely to discover the strengths and weaknesses of a text, where a text takes us is truly fascinating.Learn Italian
One day I spoke with a teacher of this unique art. Her name was Ljiljana Avirovic, a Croatian scholar living for decades in Italy.
She was a professor of Theory and practice of translation from Italian into Croatian and a professor of Theory and practice of specialised Italian translation services in Italian and Croatian at the School of top modern languages for interpreters and translators of the University of Trieste.
A school of which constitutes a pillar.
Formed in that University of Zagreb which has been one of the most vital centres of Italian
Studies International, she was awarded several times in Croatia, Italy and Austria, she’s also a promoter of international conferences on Italian translation that have left their mark, she’s an author of numerous scientific publications ranging in the fields and in the most different ages.
From Tasso to the Balkan literatures, from Croatian Petrarchism the Croatian versions of Dante in Andric), Ljiljana Avirovic is distinguished by a rare quality:
not only to have beautifully translated several Italian authors into Croatian, her mother tongue, but also Russian.
Authors of the ranking Bulgakov, Pasternak, Ajtmatov, as Krleža Croats and Serbs as Jergovic or Crnjanski, Kiš and Velikic in Italian, melting the philological rigor and creative originality in a blood vitality Pannonian, impetuous and generous.
Translation as destiny, the Croatian Tonko Maroevic wrote to her; “not only excellent professional activity, but a way of being, to cross the world and to make a mark.” Translations burn, says one of her essays.