LA CENSURA FRANQUISTA EN LA LITERATURA INFANTIL Y JUVENIL TRADUCIDA. EL CASO DE LE AVVENTURE DI PINOCCHIO (CARLO COLLODI, 1883). (Spanish)

FRANCOIST CENSORSHIP IN TRANSLATED CHILDREN'S AND YOUTH LITERATURE. THE CASE OF LE AVVENTURE DI PINOCCHIO (CARLO COLLODI, 1883). (English)

The first translation of Le avventure di Pinocchio (Collodi, 1883) appears in Spain in 1912, edited by Calleja. In 1941, the publisher reissued the text with illustrations by "Pitti" Bartolozzi. The same year, the translation by María Teresa Dini (Juventud) appeared and, in 1972, Esther Benítez made a new version of the text (Alianza). If in the first case it is a rewriting "domesticated" to the new context of reception, in the translations carried out by Dini and Benítez, the hypertext is more faithful to the hypotext, and the process of reworking interests above all the lexicon, creating a text "useful" to the education of young Spaniards during the Franco regime. Through a critical reading of the mentioned translations, I propose to analyze how Spanish publishers adapted to the ideology of the vencedores and, at the same time, managed to express their dissidence retaining evidently heterodox elements, despite censorship. [ABSTRACT FROM AUTHOR]

La primera traducción de Le avventure di Pinocchio (C. Collodi, 1883) aparece en España en 1912, editada por Calleja. En 1941, la editorial reedita el texto con ilustraciones de "Pitti" Bartolozzi. En el mismo año, aparece la traducción de María Teresa Dini (Juventud) y, en 1972, Esther Benítez realiza una nueva versión del texto (Alianza). Si en el primer caso se trata de una reescritura "domesticada" al nuevo contexto de recepción, en las traducciones realizadas por Dini y Benítez el hipertexto resulta más fiel al hipotexto, y el proceso de reelaboración interesa sobre todo el léxico, creando un texto "útil" a la educación de los jóvenes españoles durante el franquismo. A través de una lectura crítica de las traducciones mencionadas, me propongo analizar cómo las editoriales españolas se adaptaron a la ideología de los vencedores y, a la vez, lograron expresar su disidencia guardando elementos evidentemente heterodoxos, pese a la censura. [ABSTRACT FROM AUTHOR]

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