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FEATURES OF THE TRANSLATION RECEPTION OF THE FAIRY TALE BY C. COLLODI “THE ADVENTURES OF PINOCCHIO” IN RUSSIAN LITERATURE OF THE XX CENTURY // Tomsk State Pedagogical University Bulletin. 2020. Issue 3 (209). P. 72-85

Introduction. A brief history of the Italian literary tale is given, the main features of its poetics are highlighted, the most important features of its reception in Russian literature of the 19th-20th centuries are characterized. The goal - is to present a comparative analysis of the translation of the fairy tale by C. Collodi “The Adventures of Pinocchio”, made by E. Kazakevich, and its translation-alteration, carried out by A. Tolstoy under the title “The Golden Key, or The Adventures of Buratio”. Material and methods. The material of the study was the translation of C. Collodi’s fairy tale “The Adventures of Pinocchio” into Russian, made partially by A. Tolstoy (the first four chapters) and completely by E. Kazakevich. When writing the article, historical-cultural and comparative-historical methods were used, allowing to consider the original and translated text within the framework of intercultural dialogue. An important place is given to translational receptive approaches and the imagological method. Results and discussion. The story of the creation of C. Collody’s fairy tale “The Adventures of Pinocchio” and its translations into Russian at the turn of the 19th - 20th centuries is revealed. Particular attention is paid to the Berlin translation of “The Adventures of Pinocchio” (1924) into Russian, made by N. Petrovskaya and edited by A. Tolstoy. This translation is perceived as an intermediary text between the C. Collody fairy tale and A. Tolstoy’s “Golden Key”. It is proved that the action in the work of C. Collodi is built according to the laws of commedia dell’arte, and by A. Tolstoy - in accordance with the traditions of the Russian puppet theater and an adventure story. The author analyzes the initial plot underlying the Italian fairy tale and the structural elements of the fairy tale, which the Russian author focuses on. The equivalent translation by E. Kazakevich of the fairy tale by K. Collodi is compared with the translation-remake of A. Tolstoy, which is characterized by plot and compositional contraction compared to the original, narrative dynamics and stylistic laconicism. Comparison of the C. Collody fairy tale with its translation by E. Kazakevich and the remake translation by A. Tolstoy suggests that a complex semantic and aesthetic connection is established between the original, E. Kazakevich’s translation and the fairy tale “Golden Key”, a text that has come from one culture to another directly affects this latter, enriching it with new meanings, encouraging the creation of independent works based on the borrowing of images, individual plot schemes and motifs. Conclusion. Thus, one of the characteristic features of Russian-Italian literary relations in the field of children’s literature of the 19th-20th centuries was the activation of the translation process. It can be argued that the “inclusion” of Italian literature in the development of their own literature and in the spiritual life of the nation during these years in Russia was more intense than in other countries. Russian literature, perceiving Italian plots and images, gave them their own interpretation. The works of Italian writers opened up a new world and new ideas about Italy. The story of “The Adventures of Pinocchio” is unique, numerous translations became a twist in its fate, they gave the fairy tale a new life in a different language environment. Translations that exist along with the original in various cultural contexts, regardless of space and time, gave the literary fairy tale the opportunity to live an infinite number of lives. In the XIX-XX centuries the fairy-tale by K. Collodi translated into Russian by various translators entered the treasury of children’s literature and took forever its place in it, and each subsequent translation of “The Adventures of Pinocchio” only confirmed the invariable relevance and relevance of the tale to young readers. The work of C. Collodi is a thread connecting and bringing together the culture of Italy with the culture of Russia. The Italian fairy tale, thanks to the efforts of, first of all, A. Tolstoy and E. Kazakevich, became a “common” book for the two countries.

Keywords: children’s literature, literary fairytale, C. Collodi, A. Tolstoy, E. Kazakevich, translation, reception, Russian-Italian dialogue, intercultural transfer

S. YA. MARSHAK AS A TRANSLATOR OF POETRY AND PROSE BY G. RODARI // Tomsk State Pedagogical University Bulletin. 2022. Issue 4 (222). P. 137-146

Introduction. The dialogue of Russian and Western European literature, translations of foreign texts and their assimilation in the host culture, the creation of national world images – all these issues are relevant in modern literary criticism, translation studies, and country studies. The aesthetic principles of S. Ya. Marshak in translating the poetry and prose of the Italian writer J. Rodari correspond to his concept of translation-portrait and organically fit into the history of Russian and Italian literature for children in the middle of the 20th century. The purpose of the article is seen in the disclosure of the relationship between the principles of Marshak-translator and their refraction in translations of poetry and prose by J. Rodari, addressed to the child reader. Material and methods. The material of the study is critical articles by S. Ya. Marshak, poems by G. Rodari “What do crafts smell like?”, “Venice” and the prose story-tale “The Adventures of Cipollino”, translated by Z. M. Potapova and edited by S. Ya. Marshak. The work uses receptive and imagological approaches, comparative-typological, comparative-historical and comparative-comparative methods, as well as contextual and content analysis of Rodari’s original works and their Russian counterparts-translations. Results and discussion. There are different types of translations – “address” translation by K. I. Chukovsky, “translation-portrait” and translation-editing by S. Ya. Marshak. In accordance with the poetics of Italian poetry for children and the Italian literary fairy tale, S. Ya. Marshak’s translations of G. Rodari’s poems and the translation-retelling of the story “The Adventures of Cipollino” are analyzed. The folklore origins of Italian children’s literature are revealed, the connection of the fairy tale about the onion boy with the traditions of “commedia dell’arte” and with a fairy tale, the features of the reader’s perception of the child are revealed, the “double” aesthetic position of the author writing for children is comprehended: “adult” consciousness, resurrecting in itself the consciousness and worldview of the child. The translation principles of S. Ya. Marshak-poet and S. Ya. Marshak-prose writer are considered and compared. The role of the works of G. Rodari in the formation of Russian-Italian literary and cultural relationships and in the formation of Russian literature for children is emphasized. Conclusion. The closeness of the translation principles of J. Rodari and S. Ya. Marshak is analyzed, the correlation of the translation strategies of the Russian author with the traditions of Russian translated literature is clarified. The role of S. Ya. Marshak and M. Gorky in the opening of the State Publishing House of Children’s Literature in 1933 is revealed. The circle of writers who laid the foundations of Soviet literature for children in the first half of the 20th century is determined. The connection between the translation principles of S. Ya. Marshak and the concept of modern adaptive translation by G. M. Kruzhkov is revealed. For the completeness of the reception of Russian literature for children, the article by M. I. Tsvetaeva “On the new Russian children’s book” is used.

Keywords: S. Ya. Marshak, G. Rodari, translation, poetry, prose, The Adventures of Cipollino, literature for children, reception, Russian-Italian literary relationships