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Leonardo Masi | Cardinal Stefan Wyszynski University in Warsaw - Academia.edu
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href="https://esmuc.academia.edu/lopezcano"><img class="profile-avatar u-positionAbsolute" alt="Ruben López-Cano related author profile picture" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/85146/274353/6815831/s200_ruben.l_pez-cano.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://esmuc.academia.edu/lopezcano">Ruben López-Cano</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Escola Superior de Música de Catalunya</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a data-nosnippet="" href="https://ksu.academia.edu/DavidSeamon"><img class="profile-avatar u-positionAbsolute" alt="David Seamon related author profile picture" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/93547/25922/29662134/s200_david.seamon.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://ksu.academia.edu/DavidSeamon">David Seamon</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Kansas State University</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a data-nosnippet="" href="https://uts.academia.edu/TimothyLaurie"><img class="profile-avatar u-positionAbsolute" alt="Timothy N Laurie related author profile picture" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" 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class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://ntnu-no.academia.edu/EgilBakka">Egil Bakka</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Norwegian University of Science and Technology</p></div></div></ul></div><style type="text/css">.suggested-academics--header h3{font-size:16px;font-weight:500;line-height:20px}</style><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="2958144">View All (20)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="2958144" href="https://www.academia.edu/Documents/in/Music"><div id="js-react-on-rails-context" style="display:none" 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data-dom-id="Pill-react-component-5d9a098b-2118-462d-8012-81777d1e7cc4"></div> <div id="Pill-react-component-5d9a098b-2118-462d-8012-81777d1e7cc4"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="2958144" href="https://www.academia.edu/Documents/in/Literary_translation"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Literary translation"]}" data-trace="false" data-dom-id="Pill-react-component-4b84fe7f-6bdf-42c7-8424-82e223587f1e"></div> <div id="Pill-react-component-4b84fe7f-6bdf-42c7-8424-82e223587f1e"></div> </a></div></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>14</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Books" data-toggle="tab" href="#books" role="tab" title="Books"><span>3</span> <span class="ds2-5-body-sm-bold">Books</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Conferences,-workshops,-courses" data-toggle="tab" href="#conferencesworkshopscourses" role="tab" title="Conferences, workshops, courses"><span>1</span> <span class="ds2-5-body-sm-bold">Conferences, workshops, courses</span></a></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Leonardo Masi</h3></div><div class="js-work-strip profile--work_container" data-work-id="123557919"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123557919/Poetry_in_progressive_rock_The_case_of_Czes%C5%82aw_Niemen"><img alt="Research paper thumbnail of Poetry in progressive rock. The case of Czesław Niemen" class="work-thumbnail" src="https://attachments.academia-assets.com/117961988/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123557919/Poetry_in_progressive_rock_The_case_of_Czes%C5%82aw_Niemen">Poetry in progressive rock. The case of Czesław Niemen</a></div><div class="wp-workCard_item"><span>Prog Rock in Europe. Overview of a Persistent Musical Style</span><span>, 2016</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bad93af1751b02d81fb748ac1ac04fba" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117961988,"asset_id":123557919,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117961988/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123557919"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123557919"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123557919; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=123557919]").text(description); $(".js-view-count[data-work-id=123557919]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 123557919; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='123557919']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "bad93af1751b02d81fb748ac1ac04fba" } } $('.js-work-strip[data-work-id=123557919]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":123557919,"title":"Poetry in progressive rock. 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Dalla metrica alla voce», a cura di P. Bravi, T. Proto</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">L'etnomusicologia contemporanea avverte più che mai l'esigenza di far interagire la propria speci...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">L'etnomusicologia contemporanea avverte più che mai l'esigenza di far interagire la propria specifica "tradizione" di ricerche e analisi con altri modi di leggere e interpretare la complessità del fare musica. Un'interazione attiva, non più limitata a prestiti disciplinari bensì promotrice di vere e proprie integrazioni che innervano gli stessi fondamenti teorici e metodologici con l'obiettivo generale di contribuire a definire la musicalità umana come capacità di fare e dare senso alla musica. In questa prospettiva Il Campo delle edizioni Nota vuole richiamare la metafora di uno spazio fertile in cui seminare e coltivare insieme esperienze diverse di ricerca etno/musicologica, di studi letterari, sociologici, di antropologia culturale, mediologia, studi sul cinema, sul teatro e così via. Tutte le opere pubblicate all'interno della collana vengono sottoposte a processo di doppia revisione anonima tra pari.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7d7eb9847d42912666e39c530243e4f1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":98302843,"asset_id":96393079,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/98302843/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="96393079"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="96393079"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 96393079; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=96393079]").text(description); $(".js-view-count[data-work-id=96393079]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 96393079; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='96393079']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7d7eb9847d42912666e39c530243e4f1" } } $('.js-work-strip[data-work-id=96393079]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":96393079,"title":"L'endecasillabo nella canzone italiana, prima e dopo i cantautori","translated_title":"","metadata":{"grobid_abstract":"L'etnomusicologia contemporanea avverte più che mai l'esigenza di far interagire la propria specifica \"tradizione\" di ricerche e analisi con altri modi di leggere e interpretare la complessità del fare musica. 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The article traces back the chronology of his encounter with Italian culture, also explaining his idea of culture. In particular, his reading of Giacomo Leopardi is examined. Leopardi had been known in Poland since the 1880s, mainly through Edward Porębowicz's translation of his poems, but Brzozowski in all probability first read him in Nervi in 1907. Subsequently, he mentioned Leopardi a few times in his own writings. These references are highly significant as they offer an original interpretation, which is not influenced by the 'existentialist' reading dominant at the beginning of the twentieth century. Instead, Brzozowski foregrounds other aspects of Leopardi's philosophy, including his connection with Italian history and culture of the past (Brzozowski considered Leopardi's demystifying urge interwoven with patriotic feelings to be a recommendable model for the moral renewal of Poland), the materialist and 'pre-communist' element, and the enigmatic juxtaposition of the figure of Leopardi and that of the Buddha. In the article, I compare these insights with other contemporaneous and prior readings of Leopardi (von Meysenbug, De Sanctis, Labriola, and Croce) in order to show that some of Brzozowski's intuitions anticipated interpretations of Leopardi proposed by intellectuals in the following decades (from Rensi to Cioran). Brzozowski's readings of Leopardi are retraced on the basis of the Polish philosopher's correspondence, his published works, unpublished manuscripts and notes and by consulting the check-out log book of the Gabinetto di Lettura Vieusseux in Florence.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1852c7a609bcca3464990e7d1e81a2c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":97620708,"asset_id":95437632,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/97620708/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="95437632"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="95437632"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 95437632; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=95437632]").text(description); $(".js-view-count[data-work-id=95437632]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 95437632; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='95437632']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1852c7a609bcca3464990e7d1e81a2c2" } } $('.js-work-strip[data-work-id=95437632]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":95437632,"title":"STANISŁAW BRZOZOWSKI LETTORE DI LEOPARDI // STANISŁAW BRZOZOWSKI: A READER OF LEOPARDI","translated_title":"","metadata":{"doi":"10.15804/IW.2022.13.2.03","abstract":"Polish philosopher Stanisław Brzozowski (1878-1911) spent the last five years of his life almost entirely in Italy (in Nervi and in Florence). 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Instead, Brzozowski foregrounds other aspects of Leopardi's philosophy, including his connection with Italian history and culture of the past (Brzozowski considered Leopardi's demystifying urge interwoven with patriotic feelings to be a recommendable model for the moral renewal of Poland), the materialist and 'pre-communist' element, and the enigmatic juxtaposition of the figure of Leopardi and that of the Buddha. In the article, I compare these insights with other contemporaneous and prior readings of Leopardi (von Meysenbug, De Sanctis, Labriola, and Croce) in order to show that some of Brzozowski's intuitions anticipated interpretations of Leopardi proposed by intellectuals in the following decades (from Rensi to Cioran). 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Characters like Cabiria or Salvini identify themselves with popular music and are immersed in its particular taste, in contrast with other characters represented by classical music (Lazzari, Steiner, Gonnella). Popular music appears in some key moments of the three lms and comes to unblock a stalemate on the level of the plot. Moreover it often creates “magical” moments in which the fourth wall is torn down and diegetic<br />and extra-diegetic levels are messed up.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7fed8dfe6211e163ba6654dd09cc49d6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96682340,"asset_id":94142034,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96682340/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94142034"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94142034"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94142034; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94142034]").text(description); $(".js-view-count[data-work-id=94142034]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94142034; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94142034']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7fed8dfe6211e163ba6654dd09cc49d6" } } $('.js-work-strip[data-work-id=94142034]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94142034,"title":"Fellini and Popular Music","translated_title":"","metadata":{"doi":"10.21697/zk.2022.9.22","abstract":" rough some examples taken from Nights of Cabiria, La Dolce Vita and e Voice of the Moon, the essay explores Federico Fellini’s attitude towards popular music, which plays a particularly relevant and original role in his lms. Characters like Cabiria or Salvini identify themselves with popular music and are immersed in its particular taste, in contrast with other characters represented by classical music (Lazzari, Steiner, Gonnella). Popular music appears in some key moments of the three lms and comes to unblock a stalemate on the level of the plot. Moreover it often creates “magical” moments in which the fourth wall is torn down and diegetic\nand extra-diegetic levels are messed up. ","ai_title_tag":"Fellini's Perspective on Popular Music in His Films","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Załącznik Kulturoznawczy"},"translated_abstract":" rough some examples taken from Nights of Cabiria, La Dolce Vita and e Voice of the Moon, the essay explores Federico Fellini’s attitude towards popular music, which plays a particularly relevant and original role in his lms. 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Characters like Cabiria or Salvini identify themselves with popular music and are immersed in its particular taste, in contrast with other characters represented by classical music (Lazzari, Steiner, Gonnella). Popular music appears in some key moments of the three lms and comes to unblock a stalemate on the level of the plot. Moreover it often creates “magical” moments in which the fourth wall is torn down and diegetic\nand extra-diegetic levels are messed up. 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Adorno’s works on popular music remained probably unknown until the last two decades to the majority of Polish cultural historians, causing them to come up with their own ideas. The article aims at reconstructing how the first striking analyses of popular music in Poland came from the field of literature studies, in particular from baroque literature scholar Czesław Hernas, poet and scholar Edward Balcerzan, poet, translator and literary critic Stanisław Barańczak and from his wife Anna Barańczak.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0c77e7b2e40b6577256e8927e60cb965" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65275537,"asset_id":44782558,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65275537/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44782558"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44782558"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44782558; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44782558]").text(description); $(".js-view-count[data-work-id=44782558]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44782558; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44782558']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0c77e7b2e40b6577256e8927e60cb965" } } $('.js-work-strip[data-work-id=44782558]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44782558,"title":"THE BEGINNINGS OF POPULAR MUSIC STUDIES IN POLAND (HERNAS, BALCERZAN AND BARAŃCZAK)","translated_title":"","metadata":{"doi":"10.21697/zk.2020.7.12","abstract":"In their ‘pre-historical’ phase (1968–1983), Popular Music Studies in Poland\ndisplayed a specificity resulting from a different political and cultural history and, to certain extent, from cultural isolation during the period of state socialism. 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Adorno’s works on popular music remained probably unknown until the last two decades to the majority of Polish cultural historians, causing them to come up with their own ideas. The article aims at reconstructing how the first striking analyses of popular music in Poland came from the field of literature studies, in particular from baroque literature scholar Czesław Hernas, poet and scholar Edward Balcerzan, poet, translator and literary critic Stanisław Barańczak and from his wife Anna Barańczak. 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W tym krótkim subjektyw...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wśród włoskich mistrzów polonistyki znajduje się dużo wybitnych tłumaczy. W tym krótkim subjektywnym zarysie, autor przedstawia tych, których on uważa za najważniejszych, ze względu na dorobek translatorski oraz głębokość refleksji nad przekładami poetyckimi. Wymienieni tłumacze to Umberto Norsa, Enrico Damiani, Oskar Skarbek-Tłuchowski, Carlo Verdiani, Nullo Minissi, Pietro Marchesani, Anton Maria Raffo, Silvano De Fanti. Podejście „filologiczne“ lub „artystyczne“, zachowanie metrum i rym w przekładzie mogą być kluczami do analizy pracy tych tłumaczy.<br />Odpowiadając na pytanie, czy istnieje we Włoszech szkoła tłumaczenia polskiej poezji (w pojęciu school of activity socjologa Samuela Gilmore’a), autor wskazuje na Wydział Slawistyki Uniwersytetu we Florencji, jako jedyny ośrodek, w którym zajęcia o praktyce przekładu zaowocowały powstaniem nowych pokoleń tłumaczy.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f90880d766c1db5eb83d90336f369a60" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56552450,"asset_id":36621620,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56552450/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36621620"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36621620"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36621620; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36621620]").text(description); $(".js-view-count[data-work-id=36621620]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36621620; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36621620']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f90880d766c1db5eb83d90336f369a60" } } $('.js-work-strip[data-work-id=36621620]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36621620,"title":"I TRADUTTORI DI POESIA POLACCA IN ITALIANO – MAESTRI SENZA SCUOLA?","translated_title":"","metadata":{"abstract":"Wśród włoskich mistrzów polonistyki znajduje się dużo wybitnych tłumaczy. 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The melancholic feeling of the French song meets the American rock and roll, but in Italian popular music the propensity to escape from the frenzy still prevails until the 1970s, when the characteristic attributes of Milan (fog, greyness) – until then seen as the objective correlative of the singer’s romantic attitude as an outsider – begin to be interpreted in a positive way (Finardi, Fortis). Even the alienation of immigrants can look funny.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="82c2683f8b1f83ad25da37befe60bf44" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55492938,"asset_id":35624505,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55492938/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35624505"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35624505"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35624505; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35624505]").text(description); $(".js-view-count[data-work-id=35624505]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35624505; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35624505']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "82c2683f8b1f83ad25da37befe60bf44" } } $('.js-work-strip[data-work-id=35624505]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35624505,"title":"Immagini e suoni di Milano nella canzone d'autore italiana","translated_title":"","metadata":{"abstract":"Since the late 1950s Milan appears in many Italian songs: from the outskirts portrayed in the songs by Jannacci, Gaber, and Celentano, to the center, which appears in four songs from the mid-1960s, the city epitomizes the country’s contradictions during the years of the economic boom. The melancholic feeling of the French song meets the American rock and roll, but in Italian popular music the propensity to escape from the frenzy still prevails until the 1970s, when the characteristic attributes of Milan (fog, greyness) – until then seen as the objective correlative of the singer’s romantic attitude as an outsider – begin to be interpreted in a positive way (Finardi, Fortis). Even the alienation of immigrants can look funny."},"translated_abstract":"Since the late 1950s Milan appears in many Italian songs: from the outskirts portrayed in the songs by Jannacci, Gaber, and Celentano, to the center, which appears in four songs from the mid-1960s, the city epitomizes the country’s contradictions during the years of the economic boom. 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Even the alienation of immigrants can look funny.","internal_url":"https://www.academia.edu/35624505/Immagini_e_suoni_di_Milano_nella_canzone_dautore_italiana","translated_internal_url":"","created_at":"2018-01-09T13:48:31.372-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":2958144,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":55492938,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/55492938/thumbnails/1.jpg","file_name":"1973-3304-1-PB.pdf","download_url":"https://www.academia.edu/attachments/55492938/download_file","bulk_download_file_name":"Immagini_e_suoni_di_Milano_nella_canzone.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/55492938/1973-3304-1-PB-libre.pdf?1515534860=\u0026response-content-disposition=attachment%3B+filename%3DImmagini_e_suoni_di_Milano_nella_canzone.pdf\u0026Expires=1743427294\u0026Signature=BlcvZjz0J6hK2LUJlyqHyF4~bM7y3T2VybhmKpT7I9EpYZtDKHQM0nr-X8VH9NbpTSN3s4DAAUBV2FOLfJFwMzWx5Q9ibltUxG5OCDeET8Cehnk-aMrKSHQ1IdlapLqjZX125TIXP2FD832S3K8yPwo4a6x6BoLlJN5gzaHua2j8-~EosjA9Ln3755UP-KqGrFNY7faattmLU9DGKyV6XFniTSsHJozbXr0PJoGlshnD9LYUGVnKsqutK-eFFi2Mc~PwBK~lA~2SWXXyGuFw5L~pUzofdP2oT02T4HTl9xN0VTgY5pDe-LuOp0Sffe1fP~kC5u~n22gsgnHRZqu7kw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Immagini_e_suoni_di_Milano_nella_canzone_dautore_italiana","translated_slug":"","page_count":16,"language":"it","content_type":"Work","summary":"Since the late 1950s Milan appears in many Italian songs: from the outskirts portrayed in the songs by Jannacci, Gaber, and Celentano, to the center, which appears in four songs from the mid-1960s, the city epitomizes the country’s contradictions during the years of the economic boom. The melancholic feeling of the French song meets the American rock and roll, but in Italian popular music the propensity to escape from the frenzy still prevails until the 1970s, when the characteristic attributes of Milan (fog, greyness) – until then seen as the objective correlative of the singer’s romantic attitude as an outsider – begin to be interpreted in a positive way (Finardi, Fortis). Even the alienation of immigrants can look funny.","owner":{"id":2958144,"first_name":"Leonardo","middle_initials":null,"last_name":"Masi","page_name":"LeonardoMasi","domain_name":"uksw","created_at":"2012-12-25T02:08:52.581-08:00","display_name":"Leonardo Masi","url":"https://uksw.academia.edu/LeonardoMasi"},"attachments":[{"id":55492938,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/55492938/thumbnails/1.jpg","file_name":"1973-3304-1-PB.pdf","download_url":"https://www.academia.edu/attachments/55492938/download_file","bulk_download_file_name":"Immagini_e_suoni_di_Milano_nella_canzone.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/55492938/1973-3304-1-PB-libre.pdf?1515534860=\u0026response-content-disposition=attachment%3B+filename%3DImmagini_e_suoni_di_Milano_nella_canzone.pdf\u0026Expires=1743427294\u0026Signature=BlcvZjz0J6hK2LUJlyqHyF4~bM7y3T2VybhmKpT7I9EpYZtDKHQM0nr-X8VH9NbpTSN3s4DAAUBV2FOLfJFwMzWx5Q9ibltUxG5OCDeET8Cehnk-aMrKSHQ1IdlapLqjZX125TIXP2FD832S3K8yPwo4a6x6BoLlJN5gzaHua2j8-~EosjA9Ln3755UP-KqGrFNY7faattmLU9DGKyV6XFniTSsHJozbXr0PJoGlshnD9LYUGVnKsqutK-eFFi2Mc~PwBK~lA~2SWXXyGuFw5L~pUzofdP2oT02T4HTl9xN0VTgY5pDe-LuOp0Sffe1fP~kC5u~n22gsgnHRZqu7kw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies"},{"id":2956,"name":"Songwriting","url":"https://www.academia.edu/Documents/in/Songwriting"},{"id":46904,"name":"Italian Popular Music","url":"https://www.academia.edu/Documents/in/Italian_Popular_Music"},{"id":105985,"name":"Milano","url":"https://www.academia.edu/Documents/in/Milano"},{"id":985740,"name":"Music and Urbanization","url":"https://www.academia.edu/Documents/in/Music_and_Urbanization"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-35624505-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="35527483"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35527483/TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PARALLELE_IN_MUSICA_E_POESIA"><img alt="Research paper thumbnail of TRASCRIZIONE E TRADUZIONE: ESPERIENZE PARALLELE IN MUSICA E POESIA" class="work-thumbnail" src="https://attachments.academia-assets.com/55392476/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35527483/TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PARALLELE_IN_MUSICA_E_POESIA">TRASCRIZIONE E TRADUZIONE: ESPERIENZE PARALLELE IN MUSICA E POESIA</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Transcription and translation: parallel experiences in music and poetry – Referring to some perso...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Transcription and translation: parallel experiences in music and poetry – Referring to some personal experiences and some statements by Norman Davies, Umberto Eco and Fabio Scotto, the author tries to find analogies between translating poetry and transcribing music. Before and behind the performer's work, the translator and the transcriber deal with important issues such as timbre and tone, which are not less important than parameters easier to define and more debated (rhythm, phonics). The translator of poetry should " think for poetry " , paraphrasing the title of Leibowitz's book about transcription "Thinking for orchestra".</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5351fcc0715b88009808a1b5f3fb9215" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55392476,"asset_id":35527483,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55392476/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35527483"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35527483"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35527483; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35527483]").text(description); $(".js-view-count[data-work-id=35527483]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35527483; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35527483']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5351fcc0715b88009808a1b5f3fb9215" } } $('.js-work-strip[data-work-id=35527483]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35527483,"title":"TRASCRIZIONE E TRADUZIONE: ESPERIENZE PARALLELE IN MUSICA E POESIA","translated_title":"","metadata":{"abstract":"Transcription and translation: parallel experiences in music and poetry – Referring to some personal experiences and some statements by Norman Davies, Umberto Eco and Fabio Scotto, the author tries to find analogies between translating poetry and transcribing music. 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The translator of poetry should \" think for poetry \" , paraphrasing the title of Leibowitz's book about transcription \"Thinking for orchestra\".","internal_url":"https://www.academia.edu/35527483/TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PARALLELE_IN_MUSICA_E_POESIA","translated_internal_url":"","created_at":"2017-12-28T05:48:42.238-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":2958144,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":55392476,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/55392476/thumbnails/1.jpg","file_name":"KNeofil._4-17_6_Masi.pdf","download_url":"https://www.academia.edu/attachments/55392476/download_file","bulk_download_file_name":"TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PAR.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/55392476/KNeofil._4-17_6_Masi-libre.pdf?1514469356=\u0026response-content-disposition=attachment%3B+filename%3DTRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PAR.pdf\u0026Expires=1743427294\u0026Signature=d7XnAQ9WVlt6GOrODOID0u3x5dlKkDFrzAHK80dLOdzMuaHE3FveKjtjEm-xzcJLbHZ0PtDDVAhUpPowgGWf3BksXVj~5oIoPSaBVvpxYW-OQOJqoYFQri6QWEYbBBbOdv~tQn8PuIQx9ZEYvoPKlGKq6sL13UPLSmKu7d12TRyX3r1Uk-q9PHMxvNMd414NeAsKo4pgsAozBYI3LfpjSm83OCR4bs0TaPcOyPEG1n3wLMbf-v1AiAO4q8EOkYBnRnfPc~IQC2mA03cr6tn5sWaf8On-SBv~a931pXovYtyeXPtqVMXTrT8cZ4eFK~2CwOe7GLttcSeyOqnRmzoy9w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PARALLELE_IN_MUSICA_E_POESIA","translated_slug":"","page_count":10,"language":"it","content_type":"Work","summary":"Transcription and translation: parallel experiences in music and poetry – Referring to some personal experiences and some statements by Norman Davies, Umberto Eco and Fabio Scotto, the author tries to find analogies between translating poetry and transcribing music. Before and behind the performer's work, the translator and the transcriber deal with important issues such as timbre and tone, which are not less important than parameters easier to define and more debated (rhythm, phonics). The translator of poetry should \" think for poetry \" , paraphrasing the title of Leibowitz's book about transcription \"Thinking for orchestra\".","owner":{"id":2958144,"first_name":"Leonardo","middle_initials":null,"last_name":"Masi","page_name":"LeonardoMasi","domain_name":"uksw","created_at":"2012-12-25T02:08:52.581-08:00","display_name":"Leonardo Masi","url":"https://uksw.academia.edu/LeonardoMasi"},"attachments":[{"id":55392476,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/55392476/thumbnails/1.jpg","file_name":"KNeofil._4-17_6_Masi.pdf","download_url":"https://www.academia.edu/attachments/55392476/download_file","bulk_download_file_name":"TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PAR.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/55392476/KNeofil._4-17_6_Masi-libre.pdf?1514469356=\u0026response-content-disposition=attachment%3B+filename%3DTRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PAR.pdf\u0026Expires=1743427294\u0026Signature=d7XnAQ9WVlt6GOrODOID0u3x5dlKkDFrzAHK80dLOdzMuaHE3FveKjtjEm-xzcJLbHZ0PtDDVAhUpPowgGWf3BksXVj~5oIoPSaBVvpxYW-OQOJqoYFQri6QWEYbBBbOdv~tQn8PuIQx9ZEYvoPKlGKq6sL13UPLSmKu7d12TRyX3r1Uk-q9PHMxvNMd414NeAsKo4pgsAozBYI3LfpjSm83OCR4bs0TaPcOyPEG1n3wLMbf-v1AiAO4q8EOkYBnRnfPc~IQC2mA03cr6tn5sWaf8On-SBv~a931pXovYtyeXPtqVMXTrT8cZ4eFK~2CwOe7GLttcSeyOqnRmzoy9w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1186,"name":"Translation Studies","url":"https://www.academia.edu/Documents/in/Translation_Studies"},{"id":9792,"name":"Translation of Poetry","url":"https://www.academia.edu/Documents/in/Translation_of_Poetry"},{"id":32320,"name":"Transcriptions and orchestrations","url":"https://www.academia.edu/Documents/in/Transcriptions_and_orchestrations"},{"id":50804,"name":"Literary translation","url":"https://www.academia.edu/Documents/in/Literary_translation"},{"id":132807,"name":"Polish poetry","url":"https://www.academia.edu/Documents/in/Polish_poetry"},{"id":141774,"name":"Music transcription","url":"https://www.academia.edu/Documents/in/Music_transcription"},{"id":375551,"name":"Polish poetry in translation","url":"https://www.academia.edu/Documents/in/Polish_poetry_in_translation"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-35527483-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7622640"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7622640/Achille_Campanile_e_Konstanty_Ildefons_Ga%C5%82czy%C5%84ski_due_esempi_di_antiteatro_europeo"><img alt="Research paper thumbnail of Achille Campanile e Konstanty Ildefons Gałczyński: due esempi di antiteatro europeo" class="work-thumbnail" src="https://attachments.academia-assets.com/34167736/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7622640/Achille_Campanile_e_Konstanty_Ildefons_Ga%C5%82czy%C5%84ski_due_esempi_di_antiteatro_europeo">Achille Campanile e Konstanty Ildefons Gałczyński: due esempi di antiteatro europeo</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Le Tragedie in due battute di Achille Campanile e il Teatrzyk "Zielona Gęś" di Konstanty Ildefons...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Le Tragedie in due battute di Achille Campanile e il Teatrzyk "Zielona Gęś" di Konstanty Ildefons Gałczyński sono sicuramente da annoverare tra le esperienze più peculiari della letteratura del Novecento. "Della letteratura teatrale", si dovrebbe forse dire, se non si rischiasse così di darne un'immagine fuorviante. Se è vero infatti che si tratta di pagine scritte usando le convenzioni del linguaggio teatrale, allo stesso tempo ci è difficile immaginarne un'effettiva rappresentazione scenica tradizionale 1 . Entrambi i lavori nascono non sulla stampa letteraria o teatrale, anche se nel caso di Campanile vi troveranno ospitalità (su «La Fiera Letteraria», «Il Dramma» o «900»), ma su periodici di più ampia diffusione. La prima delle Tragedie in due battute apparve nel 1924 sul «Corriere Italiano»; ma le circa cinquecento scritte nei decenni successivi si trovano sparse tra «La Tribuna», «Ecco», l'«Idea Nazionale» oltre che sulle riviste già citate. Zielona Gęs, così come Listy z fiołkiem di Gałczyński, fu invece un appuntamento fisso che si rinnovava ogni settimana, tra il 1946 e il 1950 con una coda postuma nel 1953, su «Przekrój» 2 .</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b061ff2f1d8b0fb6d2e846f4c96e8258" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34167736,"asset_id":7622640,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34167736/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7622640"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7622640"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7622640; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7622640]").text(description); $(".js-view-count[data-work-id=7622640]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7622640; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7622640']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b061ff2f1d8b0fb6d2e846f4c96e8258" } } $('.js-work-strip[data-work-id=7622640]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7622640,"title":"Achille Campanile e Konstanty Ildefons Gałczyński: due esempi di antiteatro europeo","translated_title":"","metadata":{"more_info":"Testo del 2006 apparso sulla miscellanea in memoria di Andrzej Litwornia","grobid_abstract":"Le Tragedie in due battute di Achille Campanile e il Teatrzyk \"Zielona Gęś\" di Konstanty Ildefons Gałczyński sono sicuramente da annoverare tra le esperienze più peculiari della letteratura del Novecento. \"Della letteratura teatrale\", si dovrebbe forse dire, se non si rischiasse così di darne un'immagine fuorviante. Se è vero infatti che si tratta di pagine scritte usando le convenzioni del linguaggio teatrale, allo stesso tempo ci è difficile immaginarne un'effettiva rappresentazione scenica tradizionale 1 . Entrambi i lavori nascono non sulla stampa letteraria o teatrale, anche se nel caso di Campanile vi troveranno ospitalità (su «La Fiera Letteraria», «Il Dramma» o «900»), ma su periodici di più ampia diffusione. La prima delle Tragedie in due battute apparve nel 1924 sul «Corriere Italiano»; ma le circa cinquecento scritte nei decenni successivi si trovano sparse tra «La Tribuna», «Ecco», l'«Idea Nazionale» oltre che sulle riviste già citate. 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Se è vero infatti che si tratta di pagine scritte usando le convenzioni del linguaggio teatrale, allo stesso tempo ci è difficile immaginarne un'effettiva rappresentazione scenica tradizionale 1 . Entrambi i lavori nascono non sulla stampa letteraria o teatrale, anche se nel caso di Campanile vi troveranno ospitalità (su «La Fiera Letteraria», «Il Dramma» o «900»), ma su periodici di più ampia diffusione. La prima delle Tragedie in due battute apparve nel 1924 sul «Corriere Italiano»; ma le circa cinquecento scritte nei decenni successivi si trovano sparse tra «La Tribuna», «Ecco», l'«Idea Nazionale» oltre che sulle riviste già citate. Zielona Gęs, così come Listy z fiołkiem di Gałczyński, fu invece un appuntamento fisso che si rinnovava ogni settimana, tra il 1946 e il 1950 con una coda postuma nel 1953, su «Przekrój» 2 .","owner":{"id":2958144,"first_name":"Leonardo","middle_initials":null,"last_name":"Masi","page_name":"LeonardoMasi","domain_name":"uksw","created_at":"2012-12-25T02:08:52.581-08:00","display_name":"Leonardo Masi","url":"https://uksw.academia.edu/LeonardoMasi"},"attachments":[{"id":34167736,"title":"","file_type":"doc","scribd_thumbnail_url":"https://attachments.academia-assets.com/34167736/thumbnails/1.jpg","file_name":"Campanile_e_Galczynski.doc","download_url":"https://www.academia.edu/attachments/34167736/download_file","bulk_download_file_name":"Achille_Campanile_e_Konstanty_Ildefons_G.doc","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/34167736/Campanile_e_Galczynski.doc?1738117248=\u0026response-content-disposition=attachment%3B+filename%3DAchille_Campanile_e_Konstanty_Ildefons_G.doc\u0026Expires=1743427294\u0026Signature=gAJgN7ueubtoWAFS~UjOlBUiiaVd~oIS1sCIgjqmAZ1rB7SSIapVhzlvL4eq16c2zsXDYyo89MNGUU-LcNl39EOLXc53YLRr~NMdoSFWh2Z8xvZjPEbHolhWOl7WpLZ83zr26gfcLo4a4rvoKQAp5DFc1uskDgao8aSwVH1nRFhiljPvTTIWJWosGs-JOc-Un-J8ylDRDoauq5lrrHuewzVltm9kV-i6AIaNa2OkDRUv9S3U883KnoxoJoFs~oeUXrXcKDgZzDOy2f2z0XQRgevgHVB7d6-0DenwtHHLZ85FY6mlc2EDWkAW5VkVc~1O4zwgkfw8QuFKEFlD~gZ1iw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":69388,"name":"Letteratura italiana moderna e contemporanea","url":"https://www.academia.edu/Documents/in/Letteratura_italiana_moderna_e_contemporanea"},{"id":85694,"name":"Teatro","url":"https://www.academia.edu/Documents/in/Teatro"},{"id":207345,"name":"Letterature comparate","url":"https://www.academia.edu/Documents/in/Letterature_comparate"},{"id":422446,"name":"Letteratura Polacca","url":"https://www.academia.edu/Documents/in/Letteratura_Polacca"},{"id":923035,"name":"Avanguardie","url":"https://www.academia.edu/Documents/in/Avanguardie"},{"id":1144705,"name":"Comicità","url":"https://www.academia.edu/Documents/in/Comicita"},{"id":1144706,"name":"Umorismo","url":"https://www.academia.edu/Documents/in/Umorismo"},{"id":1341755,"name":"Teatro Futurista","url":"https://www.academia.edu/Documents/in/Teatro_Futurista"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7622640-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7296214"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7296214/PADWAN_Pr%C3%B3ba_definicji"><img alt="Research paper thumbnail of PADWAN - Próba definicji" class="work-thumbnail" src="https://attachments.academia-assets.com/33903029/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7296214/PADWAN_Pr%C3%B3ba_definicji">PADWAN - Próba definicji</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Polska liryka mieszczańska Karol Badecki zebrał ich siedemnaście 1 . Wchodziły one w skład zbioró...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Polska liryka mieszczańska Karol Badecki zebrał ich siedemnaście 1 . Wchodziły one w skład zbiorów, których ludyczny charakter ilustrowały już same tytuły: Dama dla uciechy młodzieńcom i pannom (z początku XVII w.), Pieśni i tańce zabawam uczciwym gwoli (z 1614 r.), Pieśni tańce padwany kwoli zabawie uczciwej szlachetnej młodzi polskiej (po 1654 r.). Do skromnego repertuaru padwanów odnalezionych i opublikowanych należałoby dodać przynajmniej Bez serca kto żyć może, kogo miłość bawi z rękopisu IV 1888 przechowywanego w Muzeum Czartoryskich 2 .</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d7f48408852be8527b2ceb25ed772406" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33903029,"asset_id":7296214,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33903029/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7296214"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7296214"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7296214; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7296214]").text(description); $(".js-view-count[data-work-id=7296214]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7296214; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7296214']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d7f48408852be8527b2ceb25ed772406" } } $('.js-work-strip[data-work-id=7296214]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7296214,"title":"PADWAN - Próba definicji","translated_title":"","metadata":{"more_info":"Wersja polska poprawiona. Pierwotna wersja (po włosku) ukazała się bodajże w 2006 r.","grobid_abstract":"Polska liryka mieszczańska Karol Badecki zebrał ich siedemnaście 1 . Wchodziły one w skład zbiorów, których ludyczny charakter ilustrowały już same tytuły: Dama dla uciechy młodzieńcom i pannom (z początku XVII w.), Pieśni i tańce zabawam uczciwym gwoli (z 1614 r.), Pieśni tańce padwany kwoli zabawie uczciwej szlachetnej młodzi polskiej (po 1654 r.). 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Do skromnego repertuaru padwanów odnalezionych i opublikowanych należałoby dodać przynajmniej Bez serca kto żyć może, kogo miłość bawi z rękopisu IV 1888 przechowywanego w Muzeum Czartoryskich 2 .","owner":{"id":2958144,"first_name":"Leonardo","middle_initials":null,"last_name":"Masi","page_name":"LeonardoMasi","domain_name":"uksw","created_at":"2012-12-25T02:08:52.581-08:00","display_name":"Leonardo Masi","url":"https://uksw.academia.edu/LeonardoMasi"},"attachments":[{"id":33903029,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/33903029/thumbnails/1.jpg","file_name":"KU_ZDEFINIOWANIU_PADWANA.pdf","download_url":"https://www.academia.edu/attachments/33903029/download_file","bulk_download_file_name":"PADWAN_Proba_definicji.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/33903029/KU_ZDEFINIOWANIU_PADWANA-libre.pdf?1402284385=\u0026response-content-disposition=attachment%3B+filename%3DPADWAN_Proba_definicji.pdf\u0026Expires=1743427294\u0026Signature=Yq25fxes6T8AT4zxmAP1pITH7BdeLzYNPh0qil78f9VjDMXfk3LoLpRPl5pvTAe486sYXdM2AzN5Xm98aDNOd5ZFP7a6YvTzHH3cho3-Pvd44Nq0LJ3hYZ2Tk2vORj8X58HnXirym4zC04ZnUpXozgxB-~Xg6v6gxsHaSdrChVZAa7kFMO~~WuyMwJGmbQjlzEKl5HZh3Knts5xRcK5nAQM7i5MUT8aZm0PLKVZsYZAkszxkjB4MrfsJblsr2R-qh04eFTd6FKqPEQsXZQyDTOhyO1Dm7DssoGLG1UY3VsrNJqkHS4kv19tURXQhEG-NselR0tnJXAFjjWmK5dQypw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1410566,"name":"Polonistyka","url":"https://www.academia.edu/Documents/in/Polonistyka"},{"id":1410567,"name":"Taniec","url":"https://www.academia.edu/Documents/in/Taniec"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7296214-figures'); } }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Books" id="Books"><h3 class="profile--tab_heading_container">Books by Leonardo Masi</h3></div><div class="js-work-strip profile--work_container" data-work-id="104944718"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/104944718/Il_Re_Ruggero_di_Karol_Szymanowski"><img alt="Research paper thumbnail of Il Re Ruggero di Karol Szymanowski" class="work-thumbnail" src="https://attachments.academia-assets.com/104536275/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104944718/Il_Re_Ruggero_di_Karol_Szymanowski">Il Re Ruggero di Karol Szymanowski</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Leonardo Masi, studioso di letteratura polacca, già direttore del dipartimento di Italianistica p...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Leonardo Masi, studioso di letteratura polacca, già direttore del dipartimento di Italianistica presso l'Università Cardinale Stefan Wyszyński di Varsavia, si occupa in particolare dei rapporti fra letteratura e musica, di relazioni italo-polacche e di pratiche della traduzione. Ha pubblicato lavori, fra gli altri, su Szymanowski, Brzozowski, Fellini, Fortini, sulla poesia contemporanea e sulla popular music. Traduce in italiano alcuni dei maggiori autori polacchi contemporanei.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4d809a4f10a4789eb5b87d6b7a2248d5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104536275,"asset_id":104944718,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104536275/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="104944718"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="104944718"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 104944718; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=104944718]").text(description); $(".js-view-count[data-work-id=104944718]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 104944718; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='104944718']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4d809a4f10a4789eb5b87d6b7a2248d5" } } $('.js-work-strip[data-work-id=104944718]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":104944718,"title":"Il Re Ruggero di Karol Szymanowski","translated_title":"","metadata":{"grobid_abstract":"Leonardo Masi, studioso di letteratura polacca, già direttore del dipartimento di Italianistica presso l'Università Cardinale Stefan Wyszyński di Varsavia, si occupa in particolare dei rapporti fra letteratura e musica, di relazioni italo-polacche e di pratiche della traduzione. 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Dialogi polsko-włoskie w przekładach</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uksw.academia.edu/EwaNicewiczStaszowska">Ewa Nicewicz</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uksw.academia.edu/LeonardoMasi">Leonardo Masi</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uksw.academia.edu/JoannaPietrzakThebault">Joanna M Pietrzak-Thebault</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/WydawnictwoUksw">Wydawnictwo Uksw</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e664eb4152bf469fc393586f965eeeb3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56283463,"asset_id":36373873,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56283463/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36373873"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36373873"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36373873; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36373873]").text(description); $(".js-view-count[data-work-id=36373873]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36373873; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36373873']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e664eb4152bf469fc393586f965eeeb3" } } $('.js-work-strip[data-work-id=36373873]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36373873,"title":"Ścieżki słów. 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Italian Institute of Culture «Libretti d'opera fra Italia e Polonia»" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37993644/Warsaw_17_19_december_2018_Italian_Institute_of_Culture_Libretti_dopera_fra_Italia_e_Polonia_">Warsaw, 17-19 december 2018. Italian Institute of Culture «Libretti d'opera fra Italia e Polonia»</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unisa.academia.edu/ElisabettaTonello">Elisabetta Tonello</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ferrara.academia.edu/PaoloTrovato">Paolo Trovato</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://uksw.academia.edu/LeonardoMasi">Leonardo Masi</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Warsaw, 17-19 december 2018. Italian Institute of Culture Il convegno internazionale «Libretti d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Warsaw, 17-19 december 2018. Italian Institute of Culture <br />Il convegno internazionale «Libretti d'opera fra Italia e Polonia», ospitato dall’Istituto italiano di cultura a Varsavia, nasce dal desiderio di esplorare i rapporti tra Italia e Polonia sul versante del melodramma e della lirica. Verranno indagati gli scambi, le diverse fasi storiche, i linguaggi e le metodologie critiche ed ermeneutiche applicate alla librettistica attraverso i diversi punti di vista di studiosi di varie discipline.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5f9a72264d90a188f8b4067a8eff243c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58012690,"asset_id":37993644,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58012690/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37993644"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37993644"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37993644; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37993644]").text(description); $(".js-view-count[data-work-id=37993644]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37993644; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37993644']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5f9a72264d90a188f8b4067a8eff243c" } } $('.js-work-strip[data-work-id=37993644]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37993644,"title":"Warsaw, 17-19 december 2018. 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Dalla metrica alla voce», a cura di P. Bravi, T. Proto</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">L'etnomusicologia contemporanea avverte più che mai l'esigenza di far interagire la propria speci...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">L'etnomusicologia contemporanea avverte più che mai l'esigenza di far interagire la propria specifica "tradizione" di ricerche e analisi con altri modi di leggere e interpretare la complessità del fare musica. Un'interazione attiva, non più limitata a prestiti disciplinari bensì promotrice di vere e proprie integrazioni che innervano gli stessi fondamenti teorici e metodologici con l'obiettivo generale di contribuire a definire la musicalità umana come capacità di fare e dare senso alla musica. In questa prospettiva Il Campo delle edizioni Nota vuole richiamare la metafora di uno spazio fertile in cui seminare e coltivare insieme esperienze diverse di ricerca etno/musicologica, di studi letterari, sociologici, di antropologia culturale, mediologia, studi sul cinema, sul teatro e così via. 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The article traces back the chronology of his encounter with Italian culture, also explaining his idea of culture. In particular, his reading of Giacomo Leopardi is examined. Leopardi had been known in Poland since the 1880s, mainly through Edward Porębowicz's translation of his poems, but Brzozowski in all probability first read him in Nervi in 1907. Subsequently, he mentioned Leopardi a few times in his own writings. These references are highly significant as they offer an original interpretation, which is not influenced by the 'existentialist' reading dominant at the beginning of the twentieth century. Instead, Brzozowski foregrounds other aspects of Leopardi's philosophy, including his connection with Italian history and culture of the past (Brzozowski considered Leopardi's demystifying urge interwoven with patriotic feelings to be a recommendable model for the moral renewal of Poland), the materialist and 'pre-communist' element, and the enigmatic juxtaposition of the figure of Leopardi and that of the Buddha. In the article, I compare these insights with other contemporaneous and prior readings of Leopardi (von Meysenbug, De Sanctis, Labriola, and Croce) in order to show that some of Brzozowski's intuitions anticipated interpretations of Leopardi proposed by intellectuals in the following decades (from Rensi to Cioran). Brzozowski's readings of Leopardi are retraced on the basis of the Polish philosopher's correspondence, his published works, unpublished manuscripts and notes and by consulting the check-out log book of the Gabinetto di Lettura Vieusseux in Florence.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1852c7a609bcca3464990e7d1e81a2c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":97620708,"asset_id":95437632,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/97620708/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="95437632"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="95437632"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 95437632; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=95437632]").text(description); $(".js-view-count[data-work-id=95437632]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 95437632; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='95437632']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1852c7a609bcca3464990e7d1e81a2c2" } } $('.js-work-strip[data-work-id=95437632]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":95437632,"title":"STANISŁAW BRZOZOWSKI LETTORE DI LEOPARDI // STANISŁAW BRZOZOWSKI: A READER OF LEOPARDI","translated_title":"","metadata":{"doi":"10.15804/IW.2022.13.2.03","abstract":"Polish philosopher Stanisław Brzozowski (1878-1911) spent the last five years of his life almost entirely in Italy (in Nervi and in Florence). 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Characters like Cabiria or Salvini identify themselves with popular music and are immersed in its particular taste, in contrast with other characters represented by classical music (Lazzari, Steiner, Gonnella). Popular music appears in some key moments of the three lms and comes to unblock a stalemate on the level of the plot. 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Characters like Cabiria or Salvini identify themselves with popular music and are immersed in its particular taste, in contrast with other characters represented by classical music (Lazzari, Steiner, Gonnella). Popular music appears in some key moments of the three lms and comes to unblock a stalemate on the level of the plot. Moreover it often creates “magical” moments in which the fourth wall is torn down and diegetic\nand extra-diegetic levels are messed up. ","ai_title_tag":"Fellini's Perspective on Popular Music in His Films","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Załącznik Kulturoznawczy"},"translated_abstract":" rough some examples taken from Nights of Cabiria, La Dolce Vita and e Voice of the Moon, the essay explores Federico Fellini’s attitude towards popular music, which plays a particularly relevant and original role in his lms. 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Un’antologia personale della poesia polacca","translated_title":"","metadata":{"publication_date":{"day":null,"month":null,"year":2020,"errors":{}}},"translated_abstract":null,"internal_url":"https://www.academia.edu/70753499/Andrea_Ceccherelli_a_cura_di_%C3%88_dolce_al_giusto_tempo_far_follia_Un_antologia_personale_della_poesia_polacca","translated_internal_url":"","created_at":"2022-02-06T14:26:44.099-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":2958144,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Andrea_Ceccherelli_a_cura_di_È_dolce_al_giusto_tempo_far_follia_Un_antologia_personale_della_poesia_polacca","translated_slug":"","page_count":null,"language":"it","content_type":"Work","summary":null,"owner":{"id":2958144,"first_name":"Leonardo","middle_initials":null,"last_name":"Masi","page_name":"LeonardoMasi","domain_name":"uksw","created_at":"2012-12-25T02:08:52.581-08:00","display_name":"Leonardo Masi","url":"https://uksw.academia.edu/LeonardoMasi"},"attachments":[],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-70753499-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="44782558"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44782558/THE_BEGINNINGS_OF_POPULAR_MUSIC_STUDIES_IN_POLAND_HERNAS_BALCERZAN_AND_BARA%C5%83CZAK_"><img alt="Research paper thumbnail of THE BEGINNINGS OF POPULAR MUSIC STUDIES IN POLAND (HERNAS, BALCERZAN AND BARAŃCZAK)" class="work-thumbnail" src="https://attachments.academia-assets.com/65275537/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44782558/THE_BEGINNINGS_OF_POPULAR_MUSIC_STUDIES_IN_POLAND_HERNAS_BALCERZAN_AND_BARA%C5%83CZAK_">THE BEGINNINGS OF POPULAR MUSIC STUDIES IN POLAND (HERNAS, BALCERZAN AND BARAŃCZAK)</a></div><div class="wp-workCard_item"><span>Załącznik Kulturoznawczy</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In their ‘pre-historical’ phase (1968–1983), Popular Music Studies in Poland displayed a specific...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In their ‘pre-historical’ phase (1968–1983), Popular Music Studies in Poland<br />displayed a specificity resulting from a different political and cultural history and, to certain extent, from cultural isolation during the period of state socialism. Adorno’s works on popular music remained probably unknown until the last two decades to the majority of Polish cultural historians, causing them to come up with their own ideas. The article aims at reconstructing how the first striking analyses of popular music in Poland came from the field of literature studies, in particular from baroque literature scholar Czesław Hernas, poet and scholar Edward Balcerzan, poet, translator and literary critic Stanisław Barańczak and from his wife Anna Barańczak.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0c77e7b2e40b6577256e8927e60cb965" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65275537,"asset_id":44782558,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65275537/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44782558"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44782558"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44782558; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44782558]").text(description); $(".js-view-count[data-work-id=44782558]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44782558; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44782558']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0c77e7b2e40b6577256e8927e60cb965" } } $('.js-work-strip[data-work-id=44782558]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44782558,"title":"THE BEGINNINGS OF POPULAR MUSIC STUDIES IN POLAND (HERNAS, BALCERZAN AND BARAŃCZAK)","translated_title":"","metadata":{"doi":"10.21697/zk.2020.7.12","abstract":"In their ‘pre-historical’ phase (1968–1983), Popular Music Studies in Poland\ndisplayed a specificity resulting from a different political and cultural history and, to certain extent, from cultural isolation during the period of state socialism. 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W tym krótkim subjektyw...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wśród włoskich mistrzów polonistyki znajduje się dużo wybitnych tłumaczy. W tym krótkim subjektywnym zarysie, autor przedstawia tych, których on uważa za najważniejszych, ze względu na dorobek translatorski oraz głębokość refleksji nad przekładami poetyckimi. Wymienieni tłumacze to Umberto Norsa, Enrico Damiani, Oskar Skarbek-Tłuchowski, Carlo Verdiani, Nullo Minissi, Pietro Marchesani, Anton Maria Raffo, Silvano De Fanti. Podejście „filologiczne“ lub „artystyczne“, zachowanie metrum i rym w przekładzie mogą być kluczami do analizy pracy tych tłumaczy.<br />Odpowiadając na pytanie, czy istnieje we Włoszech szkoła tłumaczenia polskiej poezji (w pojęciu school of activity socjologa Samuela Gilmore’a), autor wskazuje na Wydział Slawistyki Uniwersytetu we Florencji, jako jedyny ośrodek, w którym zajęcia o praktyce przekładu zaowocowały powstaniem nowych pokoleń tłumaczy.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f90880d766c1db5eb83d90336f369a60" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56552450,"asset_id":36621620,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56552450/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36621620"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36621620"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36621620; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36621620]").text(description); $(".js-view-count[data-work-id=36621620]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36621620; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36621620']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f90880d766c1db5eb83d90336f369a60" } } $('.js-work-strip[data-work-id=36621620]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36621620,"title":"I TRADUTTORI DI POESIA POLACCA IN ITALIANO – MAESTRI SENZA SCUOLA?","translated_title":"","metadata":{"abstract":"Wśród włoskich mistrzów polonistyki znajduje się dużo wybitnych tłumaczy. 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The melancholic feeling of the French song meets the American rock and roll, but in Italian popular music the propensity to escape from the frenzy still prevails until the 1970s, when the characteristic attributes of Milan (fog, greyness) – until then seen as the objective correlative of the singer’s romantic attitude as an outsider – begin to be interpreted in a positive way (Finardi, Fortis). Even the alienation of immigrants can look funny.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="82c2683f8b1f83ad25da37befe60bf44" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55492938,"asset_id":35624505,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55492938/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35624505"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35624505"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35624505; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35624505]").text(description); $(".js-view-count[data-work-id=35624505]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35624505; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35624505']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "82c2683f8b1f83ad25da37befe60bf44" } } $('.js-work-strip[data-work-id=35624505]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35624505,"title":"Immagini e suoni di Milano nella canzone d'autore italiana","translated_title":"","metadata":{"abstract":"Since the late 1950s Milan appears in many Italian songs: from the outskirts portrayed in the songs by Jannacci, Gaber, and Celentano, to the center, which appears in four songs from the mid-1960s, the city epitomizes the country’s contradictions during the years of the economic boom. The melancholic feeling of the French song meets the American rock and roll, but in Italian popular music the propensity to escape from the frenzy still prevails until the 1970s, when the characteristic attributes of Milan (fog, greyness) – until then seen as the objective correlative of the singer’s romantic attitude as an outsider – begin to be interpreted in a positive way (Finardi, Fortis). Even the alienation of immigrants can look funny."},"translated_abstract":"Since the late 1950s Milan appears in many Italian songs: from the outskirts portrayed in the songs by Jannacci, Gaber, and Celentano, to the center, which appears in four songs from the mid-1960s, the city epitomizes the country’s contradictions during the years of the economic boom. The melancholic feeling of the French song meets the American rock and roll, but in Italian popular music the propensity to escape from the frenzy still prevails until the 1970s, when the characteristic attributes of Milan (fog, greyness) – until then seen as the objective correlative of the singer’s romantic attitude as an outsider – begin to be interpreted in a positive way (Finardi, Fortis). Even the alienation of immigrants can look funny.","internal_url":"https://www.academia.edu/35624505/Immagini_e_suoni_di_Milano_nella_canzone_dautore_italiana","translated_internal_url":"","created_at":"2018-01-09T13:48:31.372-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":2958144,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":55492938,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/55492938/thumbnails/1.jpg","file_name":"1973-3304-1-PB.pdf","download_url":"https://www.academia.edu/attachments/55492938/download_file","bulk_download_file_name":"Immagini_e_suoni_di_Milano_nella_canzone.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/55492938/1973-3304-1-PB-libre.pdf?1515534860=\u0026response-content-disposition=attachment%3B+filename%3DImmagini_e_suoni_di_Milano_nella_canzone.pdf\u0026Expires=1743427294\u0026Signature=BlcvZjz0J6hK2LUJlyqHyF4~bM7y3T2VybhmKpT7I9EpYZtDKHQM0nr-X8VH9NbpTSN3s4DAAUBV2FOLfJFwMzWx5Q9ibltUxG5OCDeET8Cehnk-aMrKSHQ1IdlapLqjZX125TIXP2FD832S3K8yPwo4a6x6BoLlJN5gzaHua2j8-~EosjA9Ln3755UP-KqGrFNY7faattmLU9DGKyV6XFniTSsHJozbXr0PJoGlshnD9LYUGVnKsqutK-eFFi2Mc~PwBK~lA~2SWXXyGuFw5L~pUzofdP2oT02T4HTl9xN0VTgY5pDe-LuOp0Sffe1fP~kC5u~n22gsgnHRZqu7kw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Immagini_e_suoni_di_Milano_nella_canzone_dautore_italiana","translated_slug":"","page_count":16,"language":"it","content_type":"Work","summary":"Since the late 1950s Milan appears in many Italian songs: from the outskirts portrayed in the songs by Jannacci, Gaber, and Celentano, to the center, which appears in four songs from the mid-1960s, the city epitomizes the country’s contradictions during the years of the economic boom. The melancholic feeling of the French song meets the American rock and roll, but in Italian popular music the propensity to escape from the frenzy still prevails until the 1970s, when the characteristic attributes of Milan (fog, greyness) – until then seen as the objective correlative of the singer’s romantic attitude as an outsider – begin to be interpreted in a positive way (Finardi, Fortis). Even the alienation of immigrants can look funny.","owner":{"id":2958144,"first_name":"Leonardo","middle_initials":null,"last_name":"Masi","page_name":"LeonardoMasi","domain_name":"uksw","created_at":"2012-12-25T02:08:52.581-08:00","display_name":"Leonardo Masi","url":"https://uksw.academia.edu/LeonardoMasi"},"attachments":[{"id":55492938,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/55492938/thumbnails/1.jpg","file_name":"1973-3304-1-PB.pdf","download_url":"https://www.academia.edu/attachments/55492938/download_file","bulk_download_file_name":"Immagini_e_suoni_di_Milano_nella_canzone.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/55492938/1973-3304-1-PB-libre.pdf?1515534860=\u0026response-content-disposition=attachment%3B+filename%3DImmagini_e_suoni_di_Milano_nella_canzone.pdf\u0026Expires=1743427294\u0026Signature=BlcvZjz0J6hK2LUJlyqHyF4~bM7y3T2VybhmKpT7I9EpYZtDKHQM0nr-X8VH9NbpTSN3s4DAAUBV2FOLfJFwMzWx5Q9ibltUxG5OCDeET8Cehnk-aMrKSHQ1IdlapLqjZX125TIXP2FD832S3K8yPwo4a6x6BoLlJN5gzaHua2j8-~EosjA9Ln3755UP-KqGrFNY7faattmLU9DGKyV6XFniTSsHJozbXr0PJoGlshnD9LYUGVnKsqutK-eFFi2Mc~PwBK~lA~2SWXXyGuFw5L~pUzofdP2oT02T4HTl9xN0VTgY5pDe-LuOp0Sffe1fP~kC5u~n22gsgnHRZqu7kw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies"},{"id":2956,"name":"Songwriting","url":"https://www.academia.edu/Documents/in/Songwriting"},{"id":46904,"name":"Italian Popular Music","url":"https://www.academia.edu/Documents/in/Italian_Popular_Music"},{"id":105985,"name":"Milano","url":"https://www.academia.edu/Documents/in/Milano"},{"id":985740,"name":"Music and Urbanization","url":"https://www.academia.edu/Documents/in/Music_and_Urbanization"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-35624505-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="35527483"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35527483/TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PARALLELE_IN_MUSICA_E_POESIA"><img alt="Research paper thumbnail of TRASCRIZIONE E TRADUZIONE: ESPERIENZE PARALLELE IN MUSICA E POESIA" class="work-thumbnail" src="https://attachments.academia-assets.com/55392476/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35527483/TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PARALLELE_IN_MUSICA_E_POESIA">TRASCRIZIONE E TRADUZIONE: ESPERIENZE PARALLELE IN MUSICA E POESIA</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Transcription and translation: parallel experiences in music and poetry – Referring to some perso...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Transcription and translation: parallel experiences in music and poetry – Referring to some personal experiences and some statements by Norman Davies, Umberto Eco and Fabio Scotto, the author tries to find analogies between translating poetry and transcribing music. Before and behind the performer's work, the translator and the transcriber deal with important issues such as timbre and tone, which are not less important than parameters easier to define and more debated (rhythm, phonics). The translator of poetry should " think for poetry " , paraphrasing the title of Leibowitz's book about transcription "Thinking for orchestra".</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5351fcc0715b88009808a1b5f3fb9215" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55392476,"asset_id":35527483,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55392476/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35527483"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35527483"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35527483; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35527483]").text(description); $(".js-view-count[data-work-id=35527483]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35527483; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35527483']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5351fcc0715b88009808a1b5f3fb9215" } } $('.js-work-strip[data-work-id=35527483]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35527483,"title":"TRASCRIZIONE E TRADUZIONE: ESPERIENZE PARALLELE IN MUSICA E POESIA","translated_title":"","metadata":{"abstract":"Transcription and translation: parallel experiences in music and poetry – Referring to some personal experiences and some statements by Norman Davies, Umberto Eco and Fabio Scotto, the author tries to find analogies between translating poetry and transcribing music. 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The translator of poetry should \" think for poetry \" , paraphrasing the title of Leibowitz's book about transcription \"Thinking for orchestra\".","internal_url":"https://www.academia.edu/35527483/TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PARALLELE_IN_MUSICA_E_POESIA","translated_internal_url":"","created_at":"2017-12-28T05:48:42.238-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":2958144,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":55392476,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/55392476/thumbnails/1.jpg","file_name":"KNeofil._4-17_6_Masi.pdf","download_url":"https://www.academia.edu/attachments/55392476/download_file","bulk_download_file_name":"TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PAR.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/55392476/KNeofil._4-17_6_Masi-libre.pdf?1514469356=\u0026response-content-disposition=attachment%3B+filename%3DTRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PAR.pdf\u0026Expires=1743427294\u0026Signature=d7XnAQ9WVlt6GOrODOID0u3x5dlKkDFrzAHK80dLOdzMuaHE3FveKjtjEm-xzcJLbHZ0PtDDVAhUpPowgGWf3BksXVj~5oIoPSaBVvpxYW-OQOJqoYFQri6QWEYbBBbOdv~tQn8PuIQx9ZEYvoPKlGKq6sL13UPLSmKu7d12TRyX3r1Uk-q9PHMxvNMd414NeAsKo4pgsAozBYI3LfpjSm83OCR4bs0TaPcOyPEG1n3wLMbf-v1AiAO4q8EOkYBnRnfPc~IQC2mA03cr6tn5sWaf8On-SBv~a931pXovYtyeXPtqVMXTrT8cZ4eFK~2CwOe7GLttcSeyOqnRmzoy9w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PARALLELE_IN_MUSICA_E_POESIA","translated_slug":"","page_count":10,"language":"it","content_type":"Work","summary":"Transcription and translation: parallel experiences in music and poetry – Referring to some personal experiences and some statements by Norman Davies, Umberto Eco and Fabio Scotto, the author tries to find analogies between translating poetry and transcribing music. Before and behind the performer's work, the translator and the transcriber deal with important issues such as timbre and tone, which are not less important than parameters easier to define and more debated (rhythm, phonics). The translator of poetry should \" think for poetry \" , paraphrasing the title of Leibowitz's book about transcription \"Thinking for orchestra\".","owner":{"id":2958144,"first_name":"Leonardo","middle_initials":null,"last_name":"Masi","page_name":"LeonardoMasi","domain_name":"uksw","created_at":"2012-12-25T02:08:52.581-08:00","display_name":"Leonardo Masi","url":"https://uksw.academia.edu/LeonardoMasi"},"attachments":[{"id":55392476,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/55392476/thumbnails/1.jpg","file_name":"KNeofil._4-17_6_Masi.pdf","download_url":"https://www.academia.edu/attachments/55392476/download_file","bulk_download_file_name":"TRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PAR.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/55392476/KNeofil._4-17_6_Masi-libre.pdf?1514469356=\u0026response-content-disposition=attachment%3B+filename%3DTRASCRIZIONE_E_TRADUZIONE_ESPERIENZE_PAR.pdf\u0026Expires=1743427294\u0026Signature=d7XnAQ9WVlt6GOrODOID0u3x5dlKkDFrzAHK80dLOdzMuaHE3FveKjtjEm-xzcJLbHZ0PtDDVAhUpPowgGWf3BksXVj~5oIoPSaBVvpxYW-OQOJqoYFQri6QWEYbBBbOdv~tQn8PuIQx9ZEYvoPKlGKq6sL13UPLSmKu7d12TRyX3r1Uk-q9PHMxvNMd414NeAsKo4pgsAozBYI3LfpjSm83OCR4bs0TaPcOyPEG1n3wLMbf-v1AiAO4q8EOkYBnRnfPc~IQC2mA03cr6tn5sWaf8On-SBv~a931pXovYtyeXPtqVMXTrT8cZ4eFK~2CwOe7GLttcSeyOqnRmzoy9w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1186,"name":"Translation Studies","url":"https://www.academia.edu/Documents/in/Translation_Studies"},{"id":9792,"name":"Translation of Poetry","url":"https://www.academia.edu/Documents/in/Translation_of_Poetry"},{"id":32320,"name":"Transcriptions and orchestrations","url":"https://www.academia.edu/Documents/in/Transcriptions_and_orchestrations"},{"id":50804,"name":"Literary translation","url":"https://www.academia.edu/Documents/in/Literary_translation"},{"id":132807,"name":"Polish poetry","url":"https://www.academia.edu/Documents/in/Polish_poetry"},{"id":141774,"name":"Music transcription","url":"https://www.academia.edu/Documents/in/Music_transcription"},{"id":375551,"name":"Polish poetry in translation","url":"https://www.academia.edu/Documents/in/Polish_poetry_in_translation"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-35527483-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7622640"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7622640/Achille_Campanile_e_Konstanty_Ildefons_Ga%C5%82czy%C5%84ski_due_esempi_di_antiteatro_europeo"><img alt="Research paper thumbnail of Achille Campanile e Konstanty Ildefons Gałczyński: due esempi di antiteatro europeo" class="work-thumbnail" src="https://attachments.academia-assets.com/34167736/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7622640/Achille_Campanile_e_Konstanty_Ildefons_Ga%C5%82czy%C5%84ski_due_esempi_di_antiteatro_europeo">Achille Campanile e Konstanty Ildefons Gałczyński: due esempi di antiteatro europeo</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Le Tragedie in due battute di Achille Campanile e il Teatrzyk "Zielona Gęś" di Konstanty Ildefons...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Le Tragedie in due battute di Achille Campanile e il Teatrzyk "Zielona Gęś" di Konstanty Ildefons Gałczyński sono sicuramente da annoverare tra le esperienze più peculiari della letteratura del Novecento. "Della letteratura teatrale", si dovrebbe forse dire, se non si rischiasse così di darne un'immagine fuorviante. Se è vero infatti che si tratta di pagine scritte usando le convenzioni del linguaggio teatrale, allo stesso tempo ci è difficile immaginarne un'effettiva rappresentazione scenica tradizionale 1 . Entrambi i lavori nascono non sulla stampa letteraria o teatrale, anche se nel caso di Campanile vi troveranno ospitalità (su «La Fiera Letteraria», «Il Dramma» o «900»), ma su periodici di più ampia diffusione. La prima delle Tragedie in due battute apparve nel 1924 sul «Corriere Italiano»; ma le circa cinquecento scritte nei decenni successivi si trovano sparse tra «La Tribuna», «Ecco», l'«Idea Nazionale» oltre che sulle riviste già citate. Zielona Gęs, così come Listy z fiołkiem di Gałczyński, fu invece un appuntamento fisso che si rinnovava ogni settimana, tra il 1946 e il 1950 con una coda postuma nel 1953, su «Przekrój» 2 .</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b061ff2f1d8b0fb6d2e846f4c96e8258" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34167736,"asset_id":7622640,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34167736/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7622640"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7622640"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7622640; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7622640]").text(description); $(".js-view-count[data-work-id=7622640]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7622640; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7622640']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b061ff2f1d8b0fb6d2e846f4c96e8258" } } $('.js-work-strip[data-work-id=7622640]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7622640,"title":"Achille Campanile e Konstanty Ildefons Gałczyński: due esempi di antiteatro europeo","translated_title":"","metadata":{"more_info":"Testo del 2006 apparso sulla miscellanea in memoria di Andrzej Litwornia","grobid_abstract":"Le Tragedie in due battute di Achille Campanile e il Teatrzyk \"Zielona Gęś\" di Konstanty Ildefons Gałczyński sono sicuramente da annoverare tra le esperienze più peculiari della letteratura del Novecento. \"Della letteratura teatrale\", si dovrebbe forse dire, se non si rischiasse così di darne un'immagine fuorviante. Se è vero infatti che si tratta di pagine scritte usando le convenzioni del linguaggio teatrale, allo stesso tempo ci è difficile immaginarne un'effettiva rappresentazione scenica tradizionale 1 . Entrambi i lavori nascono non sulla stampa letteraria o teatrale, anche se nel caso di Campanile vi troveranno ospitalità (su «La Fiera Letteraria», «Il Dramma» o «900»), ma su periodici di più ampia diffusione. La prima delle Tragedie in due battute apparve nel 1924 sul «Corriere Italiano»; ma le circa cinquecento scritte nei decenni successivi si trovano sparse tra «La Tribuna», «Ecco», l'«Idea Nazionale» oltre che sulle riviste già citate. Zielona Gęs, così come Listy z fiołkiem di Gałczyński, fu invece un appuntamento fisso che si rinnovava ogni settimana, tra il 1946 e il 1950 con una coda postuma nel 1953, su «Przekrój» 2 .","grobid_abstract_attachment_id":34167736},"translated_abstract":null,"internal_url":"https://www.academia.edu/7622640/Achille_Campanile_e_Konstanty_Ildefons_Ga%C5%82czy%C5%84ski_due_esempi_di_antiteatro_europeo","translated_internal_url":"","created_at":"2014-07-10T08:25:54.376-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":2958144,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":34167736,"title":"","file_type":"doc","scribd_thumbnail_url":"https://attachments.academia-assets.com/34167736/thumbnails/1.jpg","file_name":"Campanile_e_Galczynski.doc","download_url":"https://www.academia.edu/attachments/34167736/download_file","bulk_download_file_name":"Achille_Campanile_e_Konstanty_Ildefons_G.doc","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/34167736/Campanile_e_Galczynski.doc?1738117248=\u0026response-content-disposition=attachment%3B+filename%3DAchille_Campanile_e_Konstanty_Ildefons_G.doc\u0026Expires=1743427294\u0026Signature=gAJgN7ueubtoWAFS~UjOlBUiiaVd~oIS1sCIgjqmAZ1rB7SSIapVhzlvL4eq16c2zsXDYyo89MNGUU-LcNl39EOLXc53YLRr~NMdoSFWh2Z8xvZjPEbHolhWOl7WpLZ83zr26gfcLo4a4rvoKQAp5DFc1uskDgao8aSwVH1nRFhiljPvTTIWJWosGs-JOc-Un-J8ylDRDoauq5lrrHuewzVltm9kV-i6AIaNa2OkDRUv9S3U883KnoxoJoFs~oeUXrXcKDgZzDOy2f2z0XQRgevgHVB7d6-0DenwtHHLZ85FY6mlc2EDWkAW5VkVc~1O4zwgkfw8QuFKEFlD~gZ1iw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Achille_Campanile_e_Konstanty_Ildefons_Gałczyński_due_esempi_di_antiteatro_europeo","translated_slug":"","page_count":14,"language":"it","content_type":"Work","summary":"Le Tragedie in due battute di Achille Campanile e il Teatrzyk \"Zielona Gęś\" di Konstanty Ildefons Gałczyński sono sicuramente da annoverare tra le esperienze più peculiari della letteratura del Novecento. \"Della letteratura teatrale\", si dovrebbe forse dire, se non si rischiasse così di darne un'immagine fuorviante. Se è vero infatti che si tratta di pagine scritte usando le convenzioni del linguaggio teatrale, allo stesso tempo ci è difficile immaginarne un'effettiva rappresentazione scenica tradizionale 1 . Entrambi i lavori nascono non sulla stampa letteraria o teatrale, anche se nel caso di Campanile vi troveranno ospitalità (su «La Fiera Letteraria», «Il Dramma» o «900»), ma su periodici di più ampia diffusione. La prima delle Tragedie in due battute apparve nel 1924 sul «Corriere Italiano»; ma le circa cinquecento scritte nei decenni successivi si trovano sparse tra «La Tribuna», «Ecco», l'«Idea Nazionale» oltre che sulle riviste già citate. Zielona Gęs, così come Listy z fiołkiem di Gałczyński, fu invece un appuntamento fisso che si rinnovava ogni settimana, tra il 1946 e il 1950 con una coda postuma nel 1953, su «Przekrój» 2 .","owner":{"id":2958144,"first_name":"Leonardo","middle_initials":null,"last_name":"Masi","page_name":"LeonardoMasi","domain_name":"uksw","created_at":"2012-12-25T02:08:52.581-08:00","display_name":"Leonardo Masi","url":"https://uksw.academia.edu/LeonardoMasi"},"attachments":[{"id":34167736,"title":"","file_type":"doc","scribd_thumbnail_url":"https://attachments.academia-assets.com/34167736/thumbnails/1.jpg","file_name":"Campanile_e_Galczynski.doc","download_url":"https://www.academia.edu/attachments/34167736/download_file","bulk_download_file_name":"Achille_Campanile_e_Konstanty_Ildefons_G.doc","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/34167736/Campanile_e_Galczynski.doc?1738117248=\u0026response-content-disposition=attachment%3B+filename%3DAchille_Campanile_e_Konstanty_Ildefons_G.doc\u0026Expires=1743427294\u0026Signature=gAJgN7ueubtoWAFS~UjOlBUiiaVd~oIS1sCIgjqmAZ1rB7SSIapVhzlvL4eq16c2zsXDYyo89MNGUU-LcNl39EOLXc53YLRr~NMdoSFWh2Z8xvZjPEbHolhWOl7WpLZ83zr26gfcLo4a4rvoKQAp5DFc1uskDgao8aSwVH1nRFhiljPvTTIWJWosGs-JOc-Un-J8ylDRDoauq5lrrHuewzVltm9kV-i6AIaNa2OkDRUv9S3U883KnoxoJoFs~oeUXrXcKDgZzDOy2f2z0XQRgevgHVB7d6-0DenwtHHLZ85FY6mlc2EDWkAW5VkVc~1O4zwgkfw8QuFKEFlD~gZ1iw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":69388,"name":"Letteratura italiana moderna e contemporanea","url":"https://www.academia.edu/Documents/in/Letteratura_italiana_moderna_e_contemporanea"},{"id":85694,"name":"Teatro","url":"https://www.academia.edu/Documents/in/Teatro"},{"id":207345,"name":"Letterature comparate","url":"https://www.academia.edu/Documents/in/Letterature_comparate"},{"id":422446,"name":"Letteratura Polacca","url":"https://www.academia.edu/Documents/in/Letteratura_Polacca"},{"id":923035,"name":"Avanguardie","url":"https://www.academia.edu/Documents/in/Avanguardie"},{"id":1144705,"name":"Comicità","url":"https://www.academia.edu/Documents/in/Comicita"},{"id":1144706,"name":"Umorismo","url":"https://www.academia.edu/Documents/in/Umorismo"},{"id":1341755,"name":"Teatro Futurista","url":"https://www.academia.edu/Documents/in/Teatro_Futurista"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7622640-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7296214"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7296214/PADWAN_Pr%C3%B3ba_definicji"><img alt="Research paper thumbnail of PADWAN - Próba definicji" class="work-thumbnail" src="https://attachments.academia-assets.com/33903029/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7296214/PADWAN_Pr%C3%B3ba_definicji">PADWAN - Próba definicji</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Polska liryka mieszczańska Karol Badecki zebrał ich siedemnaście 1 . Wchodziły one w skład zbioró...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Polska liryka mieszczańska Karol Badecki zebrał ich siedemnaście 1 . Wchodziły one w skład zbiorów, których ludyczny charakter ilustrowały już same tytuły: Dama dla uciechy młodzieńcom i pannom (z początku XVII w.), Pieśni i tańce zabawam uczciwym gwoli (z 1614 r.), Pieśni tańce padwany kwoli zabawie uczciwej szlachetnej młodzi polskiej (po 1654 r.). Do skromnego repertuaru padwanów odnalezionych i opublikowanych należałoby dodać przynajmniej Bez serca kto żyć może, kogo miłość bawi z rękopisu IV 1888 przechowywanego w Muzeum Czartoryskich 2 .</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d7f48408852be8527b2ceb25ed772406" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33903029,"asset_id":7296214,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33903029/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7296214"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7296214"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7296214; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7296214]").text(description); $(".js-view-count[data-work-id=7296214]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7296214; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7296214']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d7f48408852be8527b2ceb25ed772406" } } $('.js-work-strip[data-work-id=7296214]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7296214,"title":"PADWAN - Próba definicji","translated_title":"","metadata":{"more_info":"Wersja polska poprawiona. Pierwotna wersja (po włosku) ukazała się bodajże w 2006 r.","grobid_abstract":"Polska liryka mieszczańska Karol Badecki zebrał ich siedemnaście 1 . Wchodziły one w skład zbiorów, których ludyczny charakter ilustrowały już same tytuły: Dama dla uciechy młodzieńcom i pannom (z początku XVII w.), Pieśni i tańce zabawam uczciwym gwoli (z 1614 r.), Pieśni tańce padwany kwoli zabawie uczciwej szlachetnej młodzi polskiej (po 1654 r.). 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Do skromnego repertuaru padwanów odnalezionych i opublikowanych należałoby dodać przynajmniej Bez serca kto żyć może, kogo miłość bawi z rękopisu IV 1888 przechowywanego w Muzeum Czartoryskich 2 .","owner":{"id":2958144,"first_name":"Leonardo","middle_initials":null,"last_name":"Masi","page_name":"LeonardoMasi","domain_name":"uksw","created_at":"2012-12-25T02:08:52.581-08:00","display_name":"Leonardo Masi","url":"https://uksw.academia.edu/LeonardoMasi"},"attachments":[{"id":33903029,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/33903029/thumbnails/1.jpg","file_name":"KU_ZDEFINIOWANIU_PADWANA.pdf","download_url":"https://www.academia.edu/attachments/33903029/download_file","bulk_download_file_name":"PADWAN_Proba_definicji.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/33903029/KU_ZDEFINIOWANIU_PADWANA-libre.pdf?1402284385=\u0026response-content-disposition=attachment%3B+filename%3DPADWAN_Proba_definicji.pdf\u0026Expires=1743427294\u0026Signature=Yq25fxes6T8AT4zxmAP1pITH7BdeLzYNPh0qil78f9VjDMXfk3LoLpRPl5pvTAe486sYXdM2AzN5Xm98aDNOd5ZFP7a6YvTzHH3cho3-Pvd44Nq0LJ3hYZ2Tk2vORj8X58HnXirym4zC04ZnUpXozgxB-~Xg6v6gxsHaSdrChVZAa7kFMO~~WuyMwJGmbQjlzEKl5HZh3Knts5xRcK5nAQM7i5MUT8aZm0PLKVZsYZAkszxkjB4MrfsJblsr2R-qh04eFTd6FKqPEQsXZQyDTOhyO1Dm7DssoGLG1UY3VsrNJqkHS4kv19tURXQhEG-NselR0tnJXAFjjWmK5dQypw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1410566,"name":"Polonistyka","url":"https://www.academia.edu/Documents/in/Polonistyka"},{"id":1410567,"name":"Taniec","url":"https://www.academia.edu/Documents/in/Taniec"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7296214-figures'); } }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="7627838" id="books"><div class="js-work-strip profile--work_container" data-work-id="104944718"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/104944718/Il_Re_Ruggero_di_Karol_Szymanowski"><img alt="Research paper thumbnail of Il Re Ruggero di Karol Szymanowski" class="work-thumbnail" src="https://attachments.academia-assets.com/104536275/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104944718/Il_Re_Ruggero_di_Karol_Szymanowski">Il Re Ruggero di Karol Szymanowski</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Leonardo Masi, studioso di letteratura polacca, già direttore del dipartimento di Italianistica p...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Leonardo Masi, studioso di letteratura polacca, già direttore del dipartimento di Italianistica presso l'Università Cardinale Stefan Wyszyński di Varsavia, si occupa in particolare dei rapporti fra letteratura e musica, di relazioni italo-polacche e di pratiche della traduzione. Ha pubblicato lavori, fra gli altri, su Szymanowski, Brzozowski, Fellini, Fortini, sulla poesia contemporanea e sulla popular music. Traduce in italiano alcuni dei maggiori autori polacchi contemporanei.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4d809a4f10a4789eb5b87d6b7a2248d5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104536275,"asset_id":104944718,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104536275/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="104944718"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="104944718"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 104944718; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=104944718]").text(description); $(".js-view-count[data-work-id=104944718]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 104944718; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='104944718']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4d809a4f10a4789eb5b87d6b7a2248d5" } } $('.js-work-strip[data-work-id=104944718]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":104944718,"title":"Il Re Ruggero di Karol Szymanowski","translated_title":"","metadata":{"grobid_abstract":"Leonardo Masi, studioso di letteratura polacca, già direttore del dipartimento di Italianistica presso l'Università Cardinale Stefan Wyszyński di Varsavia, si occupa in particolare dei rapporti fra letteratura e musica, di relazioni italo-polacche e di pratiche della traduzione. 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Italian Institute of Culture Il convegno internazionale «Libretti d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Warsaw, 17-19 december 2018. Italian Institute of Culture <br />Il convegno internazionale «Libretti d'opera fra Italia e Polonia», ospitato dall’Istituto italiano di cultura a Varsavia, nasce dal desiderio di esplorare i rapporti tra Italia e Polonia sul versante del melodramma e della lirica. 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