FEATURES OF THE TRANSLATION RECEPTION OF THE FAIRY TALE BY C. COLLODI “THE ADVENTURES OF PINOCCHIO” IN RUSSIAN LITERATURE OF THE XX CENTURY
DOI: 10.23951/1609-624X-2020-3-72-85
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
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Issue: 3, 2020
Series of issue: Issue 3
Rubric: TOPICAL ISSUES OF LITERARY CRITICISM
Pages: 72 — 85
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