Voix, images et mots / Voices, Images and Texts
Edited By Elena Di Giovanni, Chiara Elefante and Roberta Pederzoli
The first section of this volume features a variety of essays on writing for children, ranging from studies of classic authors to an analysis of the role of pictures in children’s books, to an examination of comics and theatre for the young.
Subjects addressed in the second section include the intersemiotic nature of translating for children, the question of the translator’s voice, the theoretical principles that best aid translators in the field of children’s literature, as well as chapters exploring the idea of national literatures for the young. The third and final section offers insights into audiovisual translation for children. These contributions focus on theories and models for this kind of translational activity, as well as addressing a number of real-life cases and their reception.
The volume features contributions in three languages: French, English and Italian.
Critical reflections about Hans Christian Andersen, the failed revolutionary Jack Zipes 29
29 Critical reflections about Hans Christian Andersen, the failed revolutionary Jack Zipes University of Minnesota For years the public image of Hans Christian Andersen in North America has been associated with images of Danny Kaye singing “I’m Hans Christian Andersen” in the popular 1952 Samuel Goldwyn film. Happy-go-lucky, adored by children, compassionate, innocent, and modest, the cinematic Andersen is a total fraud, and this is made abun- dantly clear in the two most recent biographies by Jackie Wullschlager (2000) and Jens Andersen (2005), who depict Andersen as a tortured individual. Indeed, Andersen had very little to do with children and had an enormous but fragile ego. He was anything but naïve and pleasant. In fact, he was very shrewd and calculating and could also be obnoxious. Most of all, he was desperate for love and admiration. This combined portrayal of the complex-ridden Andersen by Wullschlager and Jens Andersen, who lean over backwards to be fair to him, is not new at all. During the past thirty years there have been numerous critical studies of Andersen’s life and writings1 and in Den- mark, where he is considered a national literary figure, most Danes are familiar with the dark side of his putative charmed life. What makes the two recent biographies so important is that they, along with the insight- ful introduction of Diane Crone Frank and Jeffrey Frank to their recent translation of Andersen’s tales2, bring together most of the recent re- search on Andersen’s life, making use of new...
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