S. YA. MARSHAK AS A TRANSLATOR OF POETRY AND PROSE BY G. RODARI

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.

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