1,721,003 research outputs found
EMBLEMATIC JOURNEYS: GIANNI RODARI’S TRANSLATIONS IN THE USSR
No full textThe article focuses on the success of the works of the Italian children’s writer Gianni Rodari in the Soviet Union. One of the reasons for Gianni Rodari’s success in his native Italy lies in his previous popularity in the Soviet Union, thanks to early translations of his works by Samuil Marshak and his numerous visits to the USSR beginning in the 1950s. A committed communist, Rodari wanted to get a better understanding of the country that he admired so much. However, his political attitude was not narrow-minded; he investigated the Soviet education system and style of upbringing and communicated with his readers – Soviet children. In Cipollino, the author created a universally acknowledged ideal of a good and honorable hero who fights for freedom, plays in earnest, laughs at difficulties and strives to grow up into a responsible citizen. There are two main factors that contributed to the success of Rodari’s works with Soviet readers: first, their material contains an in-depth interpretation of the concept of utopia. Rodari understood utopia not as an abstraction but as a real responsibility of humanity for its better future. Second, in his creative work, the author pays great attention to folk art, which is a theme running through his rhymes, fairy tales, and stories. Folk tradition was a fundamental element both in Italian children’s literature and the Soviet children’s literature promoted by Marshak and other prominent writers for children in the first half of 20th century. These two vectors are perfectly combined in Cipollino, a favourite character with Soviet children, whose adventures are still being translated and staged in theatres outside Italy. The interaction of these vectors explains why the Italian writer is still widely read and loved, his poems are included in school syllabi, and his words are acquiring a new meaning in the 21st century. The article also reveals the reasons for the lasting popularity of Gianni Rodari’s translated works in intersemiotic cultural space of film and cartoons, ballet etc in Russia, Ukraine and other post-Soviet states
Singing the dissent in the Soviet Union (1950-1991)
Full text linkSince the end of the 1950s, the circulation of unauthorised sound material in the Soviet Union, a phenomenon which is called ‘magnitizdat’, has been increasing rapidly. The article investigates a number of issues related to this parallel dimension of official culture, such as the differences and similarities with the better known ‘samizdat’, from which the name originates; the role of the song as a form of dissent; the importance of the means of dissemination and the role of collectors; the relationship of the new song with official music and mass culture. The aim is to offer a precise definition of such “synthetic creation”, bringing its meaning to the forefront of Soviet society in the second half of the 20th century
Russian theatre for children and Marshak’s Teatr dlja detej
Full text linkIn the first decades of the 20th century, theatre in Russia rapidly develops. Particular attention is devoted to children and to the use of theatre as a didactic-pedagogical tool. At the same time various experts focus on the importance of a theatre for children, instead of plays where children are both viewers and actors. The Russian Revolution brings along epic changes, but most ideas and issues about a theatre for children had been put forward in the years before 1917. In such context poet and translator Samuil Marshak starts his literary career with a collection of plays for children, thus paving the way to future great works in this genre of children’s literature. His use of folklore and stylistic procedures are to be found in his masterpieces of the following years
Dmitrij Licha£ëv, Andrej Gri≤unin. La volontà dell’autore. Due saggi teorici
No full textItalian translation of “Volia avtora” kak printsip vybora teksta dlia opublikovaniia by DmitriiLikhachev and of Volia avtora by Andrei Grishunin
«С ЧЕМ НУЖНО БОРОТЬСЯ И ЧТО ПРИВЕТСТВОВАТЬ» В ДЕТСКОЙ ЛИТЕРАТУРЕ: СЕКРЕТНЫЙ БЮЛЛЕТЕНЬ ГЛАВЛИТА ОТ 1924 Г.
Full text linkСреди многочисленных секретных документов, находящихся в российских архивах, особо интересен бюллетень от 1924 г., хранящийся в Государственном Архиве Российской Федерации (ГА РФ), в котором детально описывается положение дел в сфере книгоиздания для детей. Составителями бюллетеня проанализированы книжные издания для детей разного возраста, выпущенные в Москве и Ленинграде в 1924 г. Документ примечателен тем, что в нем дается тщательная характеристика деятельности издательств, оценивается творчество отдельных авторов и написанных ими в течение года книг. В бюллетене приводятся рецензии и статистические выкладки, предлагаются практические действия по улучшению качества (в том числе, идеологического)книжной продукции для детей, обозначаются мероприятия, которые составители бюллетеня советуют провести в срочном порядке. Особый интерес для историков детской литературы могут представлять выводы и рекомендации, сделанные авторами бюллетеня. Заключительная часть документа демонстрирует общую тенденцию органов советской цензуры (в лице Главлита) к усилению систематического контроля над издательским делом в целом, и детской книжной продукцией в частности. Материалы, представленные в бюллетене, позволяют увидеть механизмы формирования принципов советской цензуры в сфере детской литературы, а также понять, какими критериями — эстетически-ми, педагогическими и идеологическими — руководствовались лица, организующие создание и издание «новой детской книги»
Viktor Nekrasov e l’Italia. Uno scrittore sovietico nel dibattito culturale degli anni Cinquanta
No full text1917. L’infanzia come territorio tra continuità e rottura
No full textThe article aims at exploring the concept of childhood during the Revolutionary period, with particular reference to critique, illustration and literature for children and young people. The brief description of key events and works of art of such period confirms that the year 1917 was only partially a turning point in the history of Russian culture; in fact, many characteristics of the previous decade, which were inspired by the democratic wave of the Russian Populism, have been kept and developed until at least 1924-1925. Therefore, the alleged “complete
rupture” with the past was mostly an imaginary conjecture of Soviet writers and artists that wanted to mark the difference between the new Soviet era and the bourgeois past in order to acquire credibility and defend themselves from severe criticism by the Party and the censorship.
The developments in the pedagogical field, the graphic innovation in children’s publishing houses and the new language of children’s literature were inspired by the research carried out between XIX and XX centuries
Il trionfo della metafisica. Memorie di uno scrittore in prigione.
No full textNel Trionfo della metafisica Limonov racconta i mesi trascorsi all'interno della colonia penale n° 13 nelle steppe della regione di Saratov. Al lager Limonov era arrivato all'inizio del maggio 2003 dopo due anni di prigione. Verrà liberato dopo qualche mese. Il libro pullula dei personaggi più disparati: i duri passati per le carceri e i campi di rieducazione, per giudizi spesso iniqui e affrettati, i criminali incalliti, ma anche gli innocenti ingiustamente condannati. Tutti riforgiati in qualche modo dall'esperienza dolorosa della prigionia, non necessariamente abbrutiti ma quasi sempre colti dallo sguardo pungente e imperturbabile dell'autore nella loro insopprimibile ma castrata umanità
Ot "Zamka stracha" k "Trem tolstjakam": skazka Jurija Oleši na ital'janskom jazyke
No full textВ XX в. среди переводов для детей на итальянский с других языков значительное место занимала русская детская литература, хотя и уступала в популярности французской, английской и немецкой. Тем не менее от-дельные произведения русских писателей неоднократно переводились на итальянский язык и переиздавались.Статья посвящена публикации в Италии сказки Юрия Олеши «Три толстяка», которую четыре раза адаптировали в течение второй поло-вины XX в. Выделены переводческие стратегии Джованны Карулло, Серджио Леоне и Клары Коиссон, работавших с текстом Ю. Олеши.Лингвистический анализ позволяет сделать некоторые выводы о доминантах в переводческой стратегии того или иного переводчика: Карулло предлагает более вольный перевод, что соответствует переводческой традиции той эпохи, когда на поиск точного перевода не обращалось много внимания. В переводе Леоне намечается поиск сбалансирован-ной интонации для двойного адресата (детского и взрослого), в отличие от Коиссон, которая рассчитывает исключительно на взрослого читателя. В статье также уделяется внимание соотношению текста и паратекста, роли иллюстраций и других составляющихся книги как культурного продук
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