The article discusses the Italian editions of L.N. Tolstoy’s story “Gde ljubov’, tam i Bog" (Where Love is, There God is Also). Antonella Cavazza has examined all the Italian translations of this folk tale published separately and most of those published together with other Tales, starting from the first translation from Russian, which appeared in 1898, up to 1999. Only two of them mention the Russian editions on which they were based. The author has conducted a careful linguistic analysis of these two, highlighting a certain stylistic gap between the original and the translated texts, which only partially reflect the aesthetic principles Tolstoy pursued in his Narodnye rasskazy (Folk Tales). A careful reading of the originals, which form the basis of the Italian editions of Gde ljubov’, tam i Bog, has revealed some inconsistencies in the use of paragraphematic symbols—significant for understanding the text—which are corrected only in the new critical edition of this tale, currently being prepared by IMLI RAN.
Nekotorye ital’janskie perevody rasskaza L.N. Tolstogo “Gde ljubov’, tam i Bog" (1898-1999)
Antonella Cavazza
2027
Abstract
The article discusses the Italian editions of L.N. Tolstoy’s story “Gde ljubov’, tam i Bog" (Where Love is, There God is Also). Antonella Cavazza has examined all the Italian translations of this folk tale published separately and most of those published together with other Tales, starting from the first translation from Russian, which appeared in 1898, up to 1999. Only two of them mention the Russian editions on which they were based. The author has conducted a careful linguistic analysis of these two, highlighting a certain stylistic gap between the original and the translated texts, which only partially reflect the aesthetic principles Tolstoy pursued in his Narodnye rasskazy (Folk Tales). A careful reading of the originals, which form the basis of the Italian editions of Gde ljubov’, tam i Bog, has revealed some inconsistencies in the use of paragraphematic symbols—significant for understanding the text—which are corrected only in the new critical edition of this tale, currently being prepared by IMLI RAN.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
