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Abstract
The recognition of sign languages’ literary potential is relatively recent. A movement in the late 1960s and early 1970s, starting with literary translation and expanding to original works (see Sutton-Spence 2005), established the concept of deaf literature. Jakobson (1959) identified three translation types: intralinguistic, interlinguistic, and intersemiotic. Scholars have examined translations involving sign languages, highlighting interlinguistic, intersemiotic (Buonomo 2009; Buonomo & Celo 2010), and intermodal aspects (Gambini & Fontana 2016). This study explores the intermodal/intersemiotic processes in translating poems between vocal and sign languages, emphasizing the body’s role in embodied cognition and simulation (Gallese & Sinigaglia 2011). We discuss “intersensoriality” — the blending of senses in translation — and its impact on linguistic choices, illustrated with translations from Italian to Italian Sign Language (LIS) and vice versa. Specifically, we analyse translations of Giuseppe Giuranna’s “Musica” into Italian and Giacomo Leopardi’s “L’Infinito” into LIS, aiming to understand the sensory dialogue in translation.