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[Review] L’ABC dei traduttori di letteratura per ragazzi

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Sezzi A.
Italica Wratislaviensia
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2017
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issue 8.2
207-214
EN
Review of the book: Gillian Lathey (2016). "Translating Children’s Literature." New York: Routledge, pp. 161
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“Quello stregone che non era altri che lui, James Joyce di Dublino”: le traduzioni di The Cat and The Devil in Italia

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Sezzi A.
Italica Wratislaviensia
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2017
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issue 8.1
137-171
EN
This article sets out to explore the dynamics through which Joyce’s version of the legend of the “devil’s bridge”, narrated in a letter addressed to his grandson, Stevie, entered the world of children’s literature in Italy. This occurred just after the legend’s publication in the USA and the UK under the title The Cat and the Devil. It was immediately turned into a picturebook, a sophisticated literary product aimed at very young readers. In fact, far from being a mere text for toddlers, the Italian Il gatto e il diavolo is at the centre of several intersemiotic and interlinguistic translations that enhance the interpretative potential and richness of Joyce’s narration, already at the crossroads between folkloric and modernist translation. The comparative analysis of three different Italian translations of the story expressly addressed to children (the first by Enzo Siciliano, published by Emme Edizioni in 1967; the second by Giulio Lughi for Edizioni EL in 1980; and the third and more recent one by Ottavio Fatica for ESG in 2010) has highlighted that the differences between them can be ascribed to distinct translation projects, aimed at building bridges between young readers and Joyce’s work in various periods of the history of the Italian literary market for children.
IT
L’articolo intende esplorare le dinamiche attraverso cui la leggenda del “ponte del diavolo”, così come raccontata da James Joyce in una lettera al nipotino Stevie, è entrata nel mondo della letteratura per l’infanzia italiana, subito dopo la sua pubblicazione negli Stati Uniti e in Gran Bretagna con il titolo The Cat and the Devil. Anche in Italia è stata subito trasformata in un prodotto letterario specifico e sofisticato, il picturebook o albo illustrato, indirizzato ai bambini in età prescolare. Lontano dall’essere, però, un semplice testo per “piccoli”, Il gatto e il diavolo si ritrova al centro di molteplici traduzioni interlinguistiche e intersemiotiche che aumentano il potenziale interpretativo e la ricchezza della narrazione di Joyce, già al crocevia della traduzione folklorica e di quella modernista. In particolare, l’analisi comparativa di tre diverse traduzioni della storia specificatamente rivolte ai bambini (la prima di Enzo Siciliano per la Emme Edizioni nel 1967, la seconda di Giulio Lughi per Edizioni EL nel 1980, e la terza di Ottavio Fatica per ESG nel 2010) ha evidenziato che le differenze tra queste edizioni possono essere ascritte a tre diversi progetti traduttivi che in maniera diversa cercano di costruire un ponte tra i diversi lettori bambini e l’opera dello scrittore irlandese in diversi momenti della storia del mercato editoriale per ragazzi in Italia.
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BORDERS OF CHILDREN'S LITERATURE. RECEPTION OF PICTURE BOOKS IN ITALY AND THE QUESTION OF READING ALOUD (Bariery literatury dla dzieci. Recepcja ksiazek obrazkowych we wloszech a kwestia glosnej lektury)

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Sezzi A.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2009/2010
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issue 2-1(22-23)
226-244
EN
The article opens with the idea of the international 'republic of childhood' without geographical and political borders, as conceived by Hazard and promoted after the Second World War. According to O'Sullivan (2004, 2005), this concept of childhood, and consequently of children's literature, is idealistic and does not address real problems connected with the process of translation. As a matter of fact, the translation of a book for children from one language into another is not as easy as it might seem: frontiers and custom-houses do exist (Bertea 2000: 94). A peculiar cas limite is represented by the reception of the picture book in Italy: introduced thanks to the pioneering work of the publishing-house Emme Edizioni and of its translators, the genre was then rejected. Italy had to wait a decade to see the same and similar picture books republished, but it is still paying the price of this initial closing of the borders, which happened even though the translators paid custom-duties and import-duties. These depended not only on the prevailing child image held by the Italian society, but also on the different image of the adult, who was going to read picture books aloud and who was ready to put on a performance for the child reader (Oittinen 2000). In particular, examples of the discrepancy between the adult and the child images of the source texts and of the target texts selected from American and English picture books and their Italian translations will be investigated.
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[Review] Scienza e letteratura si incontrano per i giovani lettori

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Sezzi A.
Italica Wratislaviensia
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2017
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issue 8.2
215-222
IT
Review of the book: Elisa Marazzi (a cura di) (2016). "Miei piccoli lettori… Letteratura e scienza nel libro per ragazzi tra XIX e XX secolo". Milano: Guerini e associati, pp. 224.
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