La «cinematografia sentimentale» dei Canti Orfici di Dino Campana nella traduzione dall’italiano al romeno
The “sentimental cinematography” of Dino Campana’s “Canti Orfici” in the translation from Italian to Romanian

Summary/Abstract: In Dino Campana's Canti Orfici, some critics rightly observed the tendency towards fragmentation of Campana’s poetics, along with the decomposition and dematerialization of the images (Ceragioli 1985, 407). The poet uses a cinematographic technique (so called by Ceragioli, inspired by a subtitle of La Notte which was substituted in the final edition: Morti cinematografiche), employing techniques very similar to that of the Futurists. In fact, Campana uses sequences of frames that seem to follow one other in a perpetual present, liberated from time and space. Consequently, the traditional syntactic structure is interrupted by chromatic and musical elements introduced into the text by means of repetitions (Ceragioli 1985, 30, 31, 407). It gives rise to a new system, with a cohesion and coherence specific to Campana; on this system focused the translation process of the Canti Orfici into Romanian (Campana 2017). The present research focuses on some of the strategies employed by the translator to maintain the segmentation typical of the new Campanian system (the paratactic, nominal, a-verbal, a-temporal syntaxes, the hyperbatons, the dislocations, the prolepsis, anacoluthon effects, the lack of punctuation), while enhancing, at the same time, the elements of continuity within and beyond the limits of the sentence, the construction of the unitary sense and any progressive and coherent enchaining of ideas [strong lexical cohesion: Genoese vocabulary, stylistic figures of repetition, alliteration, parallelism, ellipsis (Sgroi 2007, 93-94)].

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