Abstract
The topos of the rediscovered manuscript appears in classical antiquity, crosses the Renaissance and flourishes to date; this narrative fiction, in which the text is presented as a translation of an imaginary original, raises to the real translator a series of challenging questions. The purpose of this paper is to promote reflection, analyzing some concrete examples on translations of these texts; to demonstrate how the new translation of the text, in a game of mirrors and its refractions, shows also traces of his imaginary original, forming a palimpsest of three cultures, a triple text layer from which emerge the voices of several authors.
Keywords:
Topos; Manuscript; Settembrini; Censorship