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.
Aesop, Araby and “Blank Paper”: Early translations into English for the child reader Gillian Lathey 215
215 Aesop, Araby and “Blank Paper”: Early translations into English for the child reader Gillian LATHEY Roehampton University In the early years of the 19th century, amid the bleak beauty of the Yorkshire moors in the north of England, four highly imaginative children spent hours of their time devising short dramas based on stories they had read. Charlotte Brontë, aged twelve, wrote in her “History of the Year 1829” about the characters of one of these plays: “The origin of the O’Deays1 was as follows we pretended we had each a large island inhabited by people 6 miles high the people we took out of Esops fable Hay Man was my Chief Man Boaster Branwell’s, Hunter Anne’s and Clown Emily’s” (Gérin, 1967: 25)2. In her biography of Charlotte Brontë, Winifred Gérin traces the figures of Boaster and Clown to the 1825 edition of Aesop’s Fables, first translated in 1722 by the Reverend Samuel Croxall, of whom more will be said later. Gérin asserts, refer- ring to the Brontë children, that “of their own earliest childish books Aesop’s Fables and The Arabian Nights’ Entertainments3 appear to have been their favourites” (ibid.). Romantic poets William Wordsworth and Samuel Taylor Coleridge, too, had been so taken with The Arabian Nights Entertainments as children that both had strong sensory memo- ries of the text. Wordsworth describes his edition in the autobiographical poem The Prelude of 1805 as “a little, yellow, canvas-cover’d book” and a “precious treasure” (The Prelude, 1970, Book...
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