Italia

  • Editoria per l’infanzia oggi in Italia

    Author: Pino Boero
    E-mail: pinoboero@unige.it
    Institution: Università di Genova
    Year of publication: 2017
    Source: Show
    Pages: 53-67
    DOI Address: https://doi.org/10.15804/IW.2017.08.17
    PDF: iw/08_2/iw8203.pdf

    Children’s Books in Italy Today

    The revolution started by Gianni Rodari (1920–1980) led Italian children’s literature to new significant aims: outstanding picture books, a great starting point for more challenging readings, refined writers, and educational and formative series.

  • La letteratura per l’infanzia in Italia è ancora la Cenerentola del mercato letterario? Analisi dei dati dei rapporti LibeRWEB

    Author: Melissa Garavini
    E-mail: melissa.garavini2@unibo.it
    Institution: Università di Bologna
    Year of publication: 2017
    Source: Show
    Pages: 85-99
    DOI Address: https://doi.org/10.15804/IW.2017.08.05
    PDF: iw/08_1/iw8105.pdf

    Is Children’s Literature in Italy Still the “Cinderella” of the Literary Market? An Analysis of LibeRWEB ’s Reports

    This paper analyses the publishing trends of children’s literature in Italy on the basis of the annual reports issued by LiBeRWEB. The analysis, which focuses on the book publishing market, starts by introducing the main Italian publishing houses, in whose hands the publication of children’s books is concentrated. The paper will also talk about independent micropublishing by introducing the most active publishing houses, which are specialised in specific areas, such as gender studies. The publishing market will be progressively investigated by analysing several data, which suggest that literature for children and young adults is the driving segment of the Italian book publishing market. Indeed, despite the economic crisis, this is the only segment that has had positive results in the last years. In particular, the data examine several elements, which will allow us to understand such a phenomenon. If in the last years the so-called “high literature” has lost many percentage points (-7.6% in 2009), the “Cinderella of literature” has, instead, obtained positive results (+4%), maintaining constant production levels. Despite the use of percentages, the analysis takes into consideration other elements, like the quality of works, whose criteria are difficult to establish. The data show a positive change: if up to 2006 the number of novels of mediocre quality was high, probably do to a consumer trend of the market, from 2007 onwards, the situation progressively improves. Finally, the article briefly discusses the data of the digital market by analysing the role of audiobooks and e-books in the Italian market of children’s literature.

  • “Quello stregone che non era altri che lui, James Joyce di Dublino”: le traduzioni di The Cat and the Devil in Italia

    Author: Annalisa Sezzi
    E-mail: annalisa.sezzi@unimore.it
    Institution: Università di Modena e Reggio Emilia
    Year of publication: 2017
    Source: Show
    Pages: 137-171
    DOI Address: https://doi.org/10.15804/IW.2017.08.08
    PDF: iw/08_1/iw8108.pdf

    The Translations of James Joyce’s The Cat and the Devil in Italy

    This article sets out to explore the dynamics through which Joyce’s version of the legend of the “devil’s bridge”, narrated in a letter addressed to his grandson, Stevie, entered the world of children’s literature in Italy. This occurred just after the legend’s publication in the USA and the UK under the title The Cat and the Devil. It was immediately turned into a picturebook, a sophisticated literary product aimed at very young readers. In fact, far from being a mere text for toddlers, the Italian Il gatto e il diavolo is at the centre of several intersemiotic and interlinguistic translations that enhance the interpretative potential and richness of Joyce’s narration, already at the crossroads between folkloric and modernist translation. The comparative analysis of three different Italian translations of the story expressly addressed to children (the first by Enzo Siciliano, published by Emme Edizioni in 1967; the second by Giulio Lughi for Edizioni EL in 1980; and the third and more recent one by Ottavio Fatica for ESG in 2010) has highlighted that the differences between them can be ascribed to distinct translation projects, aimed at building bridges between young readers and Joyce’s work in various periods of the history of the Italian literary market for children.

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