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Écrire et traduire pour les enfants / Writing and Translating for Children

Voix, images et mots / Voices, Images and Texts


Edited By Elena Di Giovanni, Chiara Elefante and Roberta Pederzoli

De l’étude de quelques auteurs classiques à l’analyse du rôle des illustrations, en passant par la bande dessinée et le théâtre pour les enfants, ce volume analyse le vaste champ de l’écriture pour la jeunesse. Différentes contributions se penchent sur la traduction de la littérature de jeunesse, et plus particulièrement sur sa nature intersémiotique. Elles abordent de la sorte la problématique de la voix du traducteur et les principes théoriques guidant ce-dernier, ou se concentrent spécifiquement sur diverses littératures nationales. Un dernier axe de réflexion, enfin, offre un aperçu sur la traduction audiovisuelle, ses principes théoriques, ses réalisations concrètes et ses effets du point de vue de la réception. Les contributions réunies dans ce volume sont en français, anglais et italien.
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.


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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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