L’orecchio traduttivo di Cristina Campo: le strategie citazionali interne
Cristina Campo’s Translator’s Ear: Of Internal Citation Strategies

Summary/Abstract: This article analyzes intextual translations in the essays of Cristina Campo, in which quotations and literary references merge with the authorial text, becoming an integral part of it. Monica Farnetti (1998), in her analysis of “Il flauto e il tappeto” (“The Flute and the Carpet”), draws attention to the fluidity of quotation marks. Similar integration of quotations and literary allusions can be observed in other essays by Campo, such as “Gli imperdonabili” (“The Unforgivables”), with references to “William Carlos Williams” (“Danse pseudomacabre”), Marianne Moore, and the “invincible knights of the bookshelf,” as Campo called her favorite authors, including Benn, Shakespeare, and Pound. Alongside literary references, musical allusions also play a significant role, shaped by her sensitivity nurtured in the home of her father, the composer Guido Guerrini. As Elémire Zolla (1998) notes, this musical inclination is reflected in her translations – both literary and musical – treating compositions as “musical transpositions.” This study analyzes Campo’s method of writing as a dialogic engagement with multiple texts, framed by reflections on musicality and sound in translation.

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