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Questioni ecologiche nella produzione di Giana Anguissola e Gianni Rodari

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Rossitto M.

Italica Wratislaviensia

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2022

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issue 13.1

139-164

IT

Il saggio intende fornire un contributo allo studio del filone ecologico nella letteratura italiana per ragazzi concentrandosi sulle opere di due scrittori che, da prospettive diverse, muovono una critica all’incoscienza ecologica dell’uomo contemporaneo: Giana Anguissola (1906–1966), molto amata dalle giovani lettrici del suo tempo grazie alla sua penna vivacemente ironica e ai suoi personaggi femminili a tutto tondo, e Gianni Rodari (1920–1980), che coniuga efficacemente dimensione realistica e fantastica per stimolare nel lettore il senso critico. Nelle Straordinarie vacanze di Violetta (1964), Giana Anguissola riprende la protagonista di Violetta la timida, spostando però l’ambientazione da Milano alla campagna piacentina, in un paesino che il carismatico Don Piero ha riportato all’antico modo di coltivare la terra: nessun concime chimico, nessuna macchina, nessun diserbante viene usato dai contadini del luogo e i prodotti agricoli vengono portati in città soltanto con i carretti. Rodari, oltre che in alcuni articoli, si concentra su tematiche ecologiche in particolare nei racconti Il pifferaio e le automobili (in Tante storie per giocare, 1971), in cui la narrazione si apre su una città completamente invasa dalle automobili, e Il mondo in scatola (in Novelle fatte macchina, 1973), che sviluppa in chiave surreale il problema dei rifiuti.

EN

The aim of this paper is to examine ecological issues in Italian children’s literature by focusing on the works of two Italian writers who criticize, from different perspectives, the lack of ecological awareness in modern humans. The writers are Giana Anguissola (1906–1966), loved by the young female readership of the day for her vividly ironic style and rounded female characters, and Gianni Rodari (1920–1980), effectively combining realism and fantasy to encourage his readers’ critical thinking. Anguissola’s Le straordinarie vacanze di Violetta (1964) places the protagonists of her prior Milan-set Violetta la timida in the new setting of the Piacenza countryside, where charismatic Don Piero has revived ancient farming practices: the local farmers do not use chemical fertilizers, machines or herbicides, and they transport their produce to the town by carts. Rodari explicitly addresses ecological themes in some of his articles and in two stories: “Il pifferaio e le automobili” (Tante storie per giocare, 1971) and “Il mondo in scatola” (Novelle fatte macchina, 1973). In the former tale, the narrative unfolds in a city completely overrun by cars, and in the latter, a surreal plot revolves around the problem of waste.

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Formare l’homo sovieticus. L’influsso dell’ideologia comunista sulle prime traduzioni polacche delle filastrocche di Gianni Rodari

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Nicewicz E.

Italica Wratislaviensia

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2022

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issue 13.2

149-175

IT

Le prime opere di Rodari arrivarono in Polonia quando lo scrittore era ancora poco conosciuto in patria, o addirittura mal visto a causa delle sue convinzioni politiche. Infatti negli anni Cinquanta la critica italiana ignorava gli sforzi letterari di questo comunista “militante” e le sue opere, pubblicate dalle case editrici del partito, raggiungevano una ristretta cerchia di lettori. Il successo sarebbe arrivato solo dopo con l’inizio della collaborazione con Einaudi; ma intanto ciò che non piaceva ai suoi connazionali fu accolto con entusiasmo in Urss e in altri stati del blocco comunista. In quanto membro del Partito Comunista Italiano, direttore della rivista per ragazzi “Pioniere” e convinto sostenitore del comunismo, Rodari godette subito della benevolenza delle autorità della Repubblica Popolare Polacca. Le prime traduzioni dei suoi componimenti, volte dal russo a partire dalla versione curata da Samuil Maršak – considerato autore-modello di opere per l’infanzia –, apparirono sulla stampa polacca già nel 1953. Le poesie, sia in russo che in polacco, differivano spesso in maniera notevole dal testo fonte e erano dense di una forte carica ideologica. Nel presente saggio si cercherà di rispondere alle domande: quali filastrocche di Rodari sono state tradotte in polacco negli anni Cinquanta? Da chi? In che cosa si differenziavano dal testo di partenza italiano? Come vennero accolte? Come veniva rappresentato il loro autore nella Polonia comunista?

EN

Gianni Rodari’s works first appeared in Poland when he was yet little known, if not rather unpopular, in his homeland. In the 1950s, Italian criticism ignored Rodari’s literary efforts as a ‘militant’ communist, his works only reached a narrow circle of readers, and it would take some years until he garnered popularity in his homeland. Meanwhile, what the Italians failed to appreciate appeared to be gaining an almost instant recognition in the USSR and the Eastern Bloc countries. As a member of the Italian Communist Party, the Editor-in-Chief of the children’s magazine Pioniere, and an eager supporter of communism, Rodari won favour with the authorities of the Polish People’s Republic. The earliest translations of Rodari’s poetry were published in the Polish press as early as in 1953. They were based on Russian translations by Samuil Marshak, whom the Polish authorities notably considered a perfect children’s writer. Both Russian and Polish versions of Rodari’s poemst tend to differ greatly from the original texts and to bear a heavy ideological imprint. My argument in this article seeks to answer the following questions: Which of Rodari’s poems were translated into Polish in the 1950s and by whom? How are they different from the Italian originals? What was their reception in Poland? How was Rodari portrayed in Poland at the time?

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Autocenzura w pierwszych polskich przekładach Gianniego Rodariego

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Wielgosz A.

Porównania

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2020

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vol. 26

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issue 1

256-265

EN

As Gaby Thomson-Wohlgemuth proves in her book Translation under State Control: Books for Young People in the German Democratic Republic, books for children and young people considered, for example, by the Israeli researcher Zohar Shavit to be a periphery of the literary polysystem (according to Itamar Even-Zohar’s theory), in a situation where the central authority tries to control and subordinate the publishing circuit begin to occupy a central place in the polysystem as the first tool for raising obedient citizens. In this case, the selection of foreign-language books to be translated and the control and censorship of existing translations also become extremely important.In Poland after 1945, the most frequently translated Italian children’s book, apart from classics such as Carl Collodi’s Pinocchio or Edmondo de Amicis’ Heart, were books by authors connected with Marxism and with the Italian Communist Party – Gianni Rodari and Marcello Argilli. Their novels for young peopleoften contained anti-monarchist and anti-capitalist content. Censors, according to research conducted by Katarzyna Biernacka-Licznar, had no objections to the content of these translations. However, I would like to show, using the example of the translations of the first two novels by Gianni Rodari: Il romanzo di Cipollino (Opowieść o Cebulku) by Zofia Ernstowa from 1954 and Gelsomino nel paese dei bugiardi (Gelsomino w kraju kłamczuchów) by Hanna Ożogowska from 1962, how the translators used self-censorship procedures, such as avoiding controversial fragments of the text. The translators, aware of the existence of the censor’s institution, deliberately manipulated the text in order to facilitate the publication of these novels.

PL

Jak dowodzi Gaby Thomson-Wohlgemuth w poświęconej tłumaczeniom anglojęzycznej literatury dziecięcej w NRD pracy Translation under State Control: Books for Young People in the German Democratic Republic, książki dla dzieci i młodzieży, uznawane na przykład przez izraelską badaczkę Zohar Shavit za margines polisystemu literackiego (według teorii Itamara Even-Zohara) w sytuacji, w której władza centralna próbuje kontrolować i podporządkowywać sobie obieg wydawniczy, zaczynają zajmować centralne miejsce w polisystemie jako pierwsze narzędzie służące do wychowywania posłusznych obywateli. W takim przypadku niezwykle ważny staje się też wybór obcojęzycznych książek do tłumaczenia oraz kontrolai cenzura gotowych przekładów.W Polsce po 1945 roku najczęściej tłumaczonymi dziełami literatury dziecięcej, poza klasycznymi pozycjami, takimi jak Pinokio Carla Collodiego czy Serce Edmonda de Amicisa, były książki autorów związanych z marksizmem i z Włoską Partią Komunistyczną – Gianniego Rodariego i Marcella Argilliego. Ich powieści dla młodzieży często zawierały treści antymonarchistyczne, antykapitalistyczne czy związane z równością klasową. Cenzorzy, jak wynika z badań przeprowadzonych przez Katarzynę Biernacką-Licznar, nie mieli zastrzeżeń do treści tych przekładów. Chciałabym jednak pokazać na przykładzie tłumaczeń pierwszych dwóch powieści Gianniego Rodariego: Opowieści o Cebulku autorstwa Zofii Ernstowej z 1954 roku i Gelsomina w Krainie Kłamczuchów Hanny Ożogowskiej z 1962 roku stosowane przez tłumaczki zabiegi autocenzury, na przykład omijanie kontrowersyjnych fragmentów tekstu. Tłumaczki, mając świadomość istnienia instytucji cenzora, celowo manipulowały tekstem, aby ułatwić bezproblemowe wydanie tych powieści.

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2 Italica Wratislaviensia

1 Porównania

1 Nicewicz E.

1 Rossitto M.

1 Wielgosz A.

2 2022

1 2020

Questioni ecologiche nella produzione di Giana Anguissola e Gianni Rodari

Formare l’homo sovieticus. L’influsso dell’ideologia comunista sulle prime traduzioni polacche delle filastrocche di Gianni Rodari

Autocenzura w pierwszych polskich przekładach Gianniego Rodariego