Explore the vast range of titles available.

This article presents the initial findings of the DIETALY project (Destination Italy in English Translation Over the Years), which explores the role of language and translation in shaping Italy’s international image as a tourist destination from the 1920s to the 1950s. Focusing on the national tourism agency ENIT, it analyses brochures, booklets and related materials produced for English-speaking markets during a period marked by Fascism, economic depression and post-war reconstruction. The study reveals that translation, localisation and adaptation were pivotal to ENIT’s communication strategy, facilitating cultural representation and adapting discourse in response to cultural, political and market changes. A case study of the Italy brochure series (1920–1937) illustrates the transition from literal translations to more adaptive, market-sensitive forms of linguistic mediation, reflecting growing awareness of audience expectations in Britain and the United States. Alongside this historical inquiry, the DIETALY project is developing a database that systematises the metadata of these dispersed materials. Although still in progress, this database is designed to support future qualitative and quantitative research, complementing the project’s demonstration of how ENIT’s multilingual discourse contributed to the construction of Italy’s identity as an attractive tourist destination for international audiences.

Translating Italy in the Eighteenth Century offers a historical analysis of the role played by translation in that complex redefinition of women's writing that was taking place in Britain in the second half of the eighteenth century. It investigates the ways in which women writers managed to appropriate images of Italy and adapt them to their own purposes in a period which covers the 'moral turn' in women's writing in the 1740s and foreshadows the Romantic interest in Italy at the end of the century. A brief survey of translations produced by women in the period 1730-1799 provides an overview of the genres favoured by women translators, such as the moral novel, sentimental play and a type of conduct literature of a distinctively 'proto-feminist' character. Elizabeth Carter's translation of Francesco Algarotti's II Newtonianesimo per le Dame (1739) is one of the best examples of the latter kind of texts. A close reading of the English translation indicates a 'proto-feminist' exploitation of the myth of Italian women's cultural prestige. Another genre increasingly accessible to women, namely travel writing, confirms this female interest in Italy. Female travellers who visited Italy in the second half of the century, such as Hester Piozzi, observed the state of women's education through the lenses provided by Carter. Piozzi's image of Italy, a paradoxical mixture of imagination and realistic observation, became a powerful symbolic source, which enabled the fictional image of a modern, relatively egalitarian British society to take shape. 1. Women's Writing in the Second Half of the Eighteenth Century: From the Domestic Novel to Representations of the Foreign (i) Methodological Premise: Feminist Narratives of the Rise of the Woman Writer (ii) The Age of Sensibility (iii) The Rise of the Idea of the Nation in Eighteenth Century Britain (iv) The Female Gothic: The Italy of Ann Radcliffe 2. Female Translators in the Eighteenth Century: the Role of Women as Literary Innovators (i) Historical Research in Translation Studies: a Case for Localism? (ii) The Rise in the Production of Women's Fiction (iii) Women and Translation in the Mid-Eighteenth Century (vi) A Survey of Translations by Women 1730-1799 3. Elizabeth Carter's Translation of Algarotti's Newtonianesimo per le Dame: Female Learning and Feminist Cultural Appropriation (i) Elizabeth Carter: The 'Learn'd Eliza, Sister of the Muse' (ii) Carter and Feminism (iii) Women and Education in the Pages of the Gentleman's Magazine (iv) The Genesis of Carter's Translation of Algarotti (v) The Reception of Algarotti's Text in his Country (vi) Carter's Translation of Algarotti: An Adaptation for Female Readers (vii) The Role of the 'Translatress' 4. Eighteenth Century Travel Writing: Constructing Images of the Other (i) Travel Writing as a Form of Translation (ii) Women and Travel Writing in the Eighteenth Century (iii) Eighteenth-Century Discourses of Travel (iv) Eighteenth Century British Travellers Constructing Italy 5. Hester Piozzi's Appropriation of the Image of Italy: Gender and the Nation (i) Hester Thrale Piozzi: A Dilettante or a Remarkable Woman Writer? (ii) Production and Reception of Women's Travel Writing (iii) Hester Piozzi's Observations and Reflections: Gender and Narration (iv) Female Identity (v) National Identity 'By shifting attention away from the well-worn costume drama of British-French rivalry in the eighteenth century, Agorni not only proposes a more nuanced view of the elaboration of British national identity in that century but she also makes explicit connections between travelling texts (translation) and textual travellers (travel writing) which add to our understanding of the relation between mobility, sensibility and gender in earlier periods.' Michael Cronin, Studies in Travel Writing

Translating Italy in the Eighteenth Century offers a historical analysis of the role played by translation in that complex redefinition of women's writing that was taking place in Britain in the second half of the eighteenth century. It investigates the ways in which women writers managed to appropriate images of Italy and adapt them to their own purposes in a period which covers the 'moral turn' in women's writing in the 1740s and foreshadows the Romantic interest in Italy at the end of the century. A brief survey of translations produced by women in the period 1730-1799 provides an overview of the genres favoured by women translators, such as the moral novel, sentimental play and a type of conduct literature of a distinctively 'proto-feminist' character. Elizabeth Carter's translation of Francesco Algarotti's II Newtonianesimo per le Dame (1739) is one of the best examples of the latter kind of texts. A close reading of the English translation indicates a 'proto-feminist' exploitation of the myth of Italian women's cultural prestige. Another genre increasingly accessible to women, namely travel writing, confirms this female interest in Italy. Female travellers who visited Italy in the second half of the century, such as Hester Piozzi, observed the state of women's education through the lenses provided by Carter. Piozzi's image of Italy, a paradoxical mixture of imagination and realistic observation, became a powerful symbolic source, which enabled the fictional image of a modern, relatively egalitarian British society to take shape.

Translating Italy in the Eighteenth Century offers a historical analysis of the role played by translation in that complex redefinition of women's writing that was taking place in Britain in the second half of the eighteenth century.

This wide-ranging collection brings together essays on a recent approach to translation known as transcreation. Together with new modes of translation, such as fansubbing, fandubbing, and crowdsourcing, transcreation has challenged the traditional structure of the translation market, the agency and ethics of the discipline, and encouraged new research in translation studies. A debate has emerged around the two concepts of translation and transcreation, mostly in terms of differences between the two practices and issues such as creativity, abusive translation and appropriation.Mainly applied to commercial translation, transcreation is now gaining momentum among translation scholars in broader areas of application, going beyond the early focus of promotional and advertising products where it was initially practised. In the specific context of this volume, transcreation is discussed in relation to a variety of textual and visual genres that range from poetry, prose, theatre, film and television to tourism and highly specialised legal texts.

Abstract Translation was a prestigious activity in Britain in the Eighteenth Century, and the field was divided into two distinct areas: translation from the classics (focusing on Latin and Greek authors) which was a male-dominated territory, and translation from modern languages (French, German, Italian and Spanish) which was one of the few literary genres open to women. Yet, there were some significant exceptions in the area of the classics. I will analyze the case of Elizabeth Carter (1717-1806), the celebrated translator of Epictetus from the Greek, who developed a particularly original approach to translation, by adopting an ingenious form of proto-feminist collaboration with her friend Catherine Talbot (1721-70).