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Sample translations submitted: 1
English to Italian: Fractious companions: psychoanalysis, Italian cinema, and sexual difference General field: Art/Literary Detailed field: Cinema, Film, TV, Drama
Source text - English Let us start with the obvious question: what does Lacanian theory have to offer to the study of (Italian) cinema? The finale of Mario Monicelli’s classic comedy caper I soliti ignoti (1958) allows me to introduce my critical methodology. The narrative unravels around a safe which functions as the proverbial object of desire for a small gang of amateur thieves from Rome’s periphery. After they break into the flat adjacent to the pawnbroker’s office where the safe is kept, they set about drilling the wall separating them from the precious object, an operation which occupies them for the whole night. However, as a result of a topological miscalculation, they drill the wrong wall, and instead of reaching the pawnbroker’s office they find themselves in that very flat’s kitchen. The allure of this ‘moment of truth’ is encapsulated in the shot of the wall as it is finally broken through: instead of the anxiously awaited treasure (the safe), the hole in the wall reveals to the mystified thieves the bedraggled figure of Capannelle (Carlo Pisacane), the eldest member of the gang who in the meantime had meandered into the kitchen looking for food. In psychoanalytic terms the brilliantly disguised shot of the hole in the wall, with its devastating emptiness, tells us that the true object-cause of desire, which Lacan terms objet petit a (where a stands for autre, other), is merely the ‘trace of void’, or lack, which triggers and sustains the circulation of desire — here, ultimately, hunger itself, the elementary reason behind the attempted robbery.
Translation - Italian Cominciamo con la domanda più ovvia: cos’ha da offrire la teoria lacaniana allo studio del cinema (Italiano)? Il finale della commedia classica di Mario Monicelli I soliti ignoti (1958) mi permette di introdurre la mia metodologia critica. La vicenda si snoda intorno a una cassaforte che funge da proverbiale oggetto del desiderio per una piccola banda di ladri allo sbaraglio della periferia romana. Dopo aver fatto irruzione nell’appartamento adiacente al monte dei pegni, luogo in cui si trova la cassaforte, i ladri iniziano a perforare la parete che li separa dal prezioso oggetto, un’operazione che li tiene occupati durante tutta la notte. Tuttavia, in seguito a un errore di calcolo di natura topologica, finiscono per perforare la parete sbagliata e invece di raggiungere il monte dei pegni, si ritrovano nella cucina dello stesso appartamento. Tutto il fascino del “momento della verità” è riassunto nell’inquadratura dell’istante in cui la parete finalmente crolla: al posto di quel tesoro ansiosamente atteso (la cassaforte), il buco sulla parete rivela, all’incredula banda di ladri, la figura malconcia di Capannelle (Carlo Pisacane), il più anziano del gruppo, che nel frattempo si era recato in cucina in cerca di cibo. In ambito psicoanalitico, questa inquadratura brillantemente camuffata che immortala il vuoto sconvolgente di quell’istante, mostra come il vero oggetto-causa del desiderio, da Lacan denominato objet petit a (dove a sta per autre, altro), non è altro che “l’evidenza del nulla”, o della mancanza, che innesca e alimenta il diffondersi del desiderio, di bramosia, che nel film di Monicelli rappresenta la ragione principale che stà alla base del tentato furto.
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Years of experience: 1. Registered at ProZ.com: Sep 2012.
Spanish to Italian (Scuola Superiore di Lingue Moderne per Interpreti e Traduttori) English to Italian (Scuola Superiore di Lingue Moderne per Interpreti e Traduttori) French to Italian (Scuola Superiore per Mediatori Linguistici “Adriano Macagno” di Cuneo) Italian to Spanish (Scuola Superiore di Lingue Moderne per Interpreti e Traduttori)
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