I had the opportunity to appreciate Annamaria’s qualities a few years ago when she worked in our company as a secretary, a role that includes several tasks: she has always stood out for her seriousness and dedication. In more recent times we have collaborated with her as a translator and also in this case she has proved to be very accurate and punctual. Her professionalism and the care she puts into the work she does have emerged.
We often refer to Annamaria for the translation of film subjects and screenplays. Annamaria has always translated our writings with great care and attention, maintaining in the translation the peculiar voice of the original text. Precise and punctual, for us she is a central collaborator!
Ms Annamaria Martinolli has translated several theses published on our Faculty of Humanities website, from Spanish to Italian, from French to Italian and from English to Italian, working with precision and accuracy. Here you can find a list of the theses translated by Ms Annamaria Martinolli.
In addition to being the best editor-in-chief that the magazine has ever had in over twenty years of its existence, Annamaria has translated countless articles that we have also published in Italian, thus making further – and more precious – editorial contributions to the project that Fucine Mute represents, starting from its foundation and on the same statutory basis: the promotion and dissemination of culture, in a broad sense.
Annamaria is our company contact for translations into the active language and revisions of texts in other languages. It’s not easy to manage technical documents like those that circulate within our company, and of which only specialists grasp the meaning. Nevertheless, seeing the quality of works carried out and the results obtained with them, we are now certain that Annamaria knows our profession even better than we do ourselves.
I think Annamaria did a great job because the translation of poetry is not easy.
She manages text with a certain ease and learns quickly (text improves page after page).
Any translation which intends to perform a transmitting function cannot transmit anything but information – hence, something inessential. This is the hallmark of bad translations.
As far as modern writing is concerned, it is rarely rewarding to translate it, although it might be easy. Translation is very much like copying paintings.
A translator ought to endeavor not only to say what his author has said, but to say it as he has said it.
The difference between the right word and the almost right word is really a large matter – it’s the difference between lightning and a lightning bug.
To use the same words is not a sufficient guarantee of understanding; one must use the same words for the same genus of inward experience; ultimately one must have one’s experiences in common.
Without translation, I would be limited to the borders of my own country. The translator is my most important ally. He introduces me to the world.
In its happiest efforts, translation is but approximation, and its efforts are not often happy. A translation may be good as translation, but it cannot be an adequate reproduction of the original.
“When I use a word”, Humpty Dumpty said, in rather a scornful tone, “it means just what I choose it to mean – neither more nor less”.
A great age of literature is perhaps always a great age of translations.
The best thing on translation was said by Cervantes: translation is the other side of a tapestry.