典型的旅行:苏联的吉安尼·罗达里

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引用次数: 0

摘要

本文着重分析了意大利儿童作家吉安尼·罗达里的作品在苏联的成功。吉安尼·罗达里在他的祖国意大利取得成功的原因之一在于他之前在苏联很受欢迎,这要归功于萨穆埃尔·马沙克对他作品的早期翻译,以及他从20世纪50年代开始多次访问苏联。作为一名忠诚的共产主义者,罗达里想要更好地了解这个他如此仰慕的国家。然而,他的政治态度并不狭隘;他调查了苏联的教育制度和教养方式,并与他的读者——苏联儿童进行了交流。在《奇波里诺》中,作者创造了一个普遍认可的理想,即一个为自由而战、认真玩耍、嘲笑困难、努力成长为负责任的公民的善良而可敬的英雄。罗达里的作品之所以能在苏联读者中获得成功,主要有两个因素:首先,它们的材料包含了对乌托邦概念的深入解读。罗达里认为,乌托邦不是一种抽象概念,而是人类对美好未来的真正责任。其次,在他的创作中,作者非常重视民间艺术,这是一个贯穿他的童谣、童话和故事的主题。民间传统是意大利儿童文学以及20世纪上半叶马沙克等著名儿童作家所倡导的苏联儿童文学的基本元素。这两种载体在奇波里诺身上得到了完美的结合,奇波里诺是苏联孩子们最喜欢的角色,他的冒险经历至今仍在意大利以外的剧院被翻译和上演。这些媒介的相互作用解释了为什么这位意大利作家仍然被广泛阅读和喜爱,他的诗歌被列入学校教学大纲,他的话语在21世纪获得了新的意义。文章还揭示了吉安尼·罗达里的翻译作品在俄罗斯、乌克兰等后苏联国家的电影、漫画、芭蕾等跨符号文化空间中经久不衰的原因。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Emblematic journeys: Gianni Rodari in the USSR
The 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.
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