![]() ![]() ![]() ![]() ![]() The case of Laurence Sterne is quite different. Nineteenth-century performance at the Re theatre in Milan being Was several more years before he became popular in Italy, his. Lations of a selection of his works were published in 1798, and it Shakespeare’s position as a classic author is unquestionable,īut he was almost unknown in Italy before the first Italian trans. Of two English authors, William Shakespeare and Laurence Sterne. In this article I will discuss the Italian translations of the works The English Situationist project jettisoned some necessary difficulties of Debord’s “style of negation,” but nonetheless sheds light on a lesser-known current of Sixties radical aesthetic practice and a moment in the troubled Anglophonic engagement with the Continental European avant-garde. This article considers the different types of translation which have operated in this Anglicization. This article investigates how critics and translators have struggled, specifically, with Debord’s style of writing, which he describes in Society of the Spectacle (1967) as a “style of negation.” After it establishes the theoretical basis and the history of the Anglophonic reception of Debord’s style, this article introduces the earliest English Situationist groups and their efforts to import Situationist practice to England by way of anglicizing its textual style. The writings of Guy Debord, central impresario of the Situationist International (1957–1972), have frequently been mistranslated by Anglophonic readers. ![]()
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