Article about translations of Japanese books published in the journal "LG Topics".
See Christian Martorella, Betrayers of the Rising Sun, in "Topics LG", No.2, XXXVIII years, from April to June 2002, pp.20-22.
Betrayers of the Rising Sun
of Christian Martorella
translator traitor. This version also has a famous saying in the Japanese archipelago far: hon'yakusha wa uragirimono. Obviously it is an opinion shared by many if you have a perfect match even in Japan. It seems that only the American philosopher Donald Davidson believes that it is possible radical translation that does not involve semantic loss (1). But his theoretical position (formal and highly abstract) is not shared by the translators who always feel a bit 'traitors. And what is even more true for Italian translators of Japanese texts.
Write an article about the Italian translations of Japanese books of children's literature is extremely easy. In fact very few titles have been published (2). In the children's necklaces are the following titles: Alarm! Warning! Miyazawa Kenji, in a stormy night of Yuichi Kimura, The flash of the Hiroshima Maruko Toshi, the laundry of the family of mice Kazuo Iwamura, Letters to my mother and Ichiro Hatano Isoka, The Planet Yo Shomei dolphins. There are other important texts of Japanese literature for children, however, included in series that are not aimed at children and young people: A night on the train of the Milky Way (Ginga Tetsudo no Yoru) and Goshu Cellist (Sero Hiki no Goshu) of Miyazawa Kenji, fantastic stories and Ryunosuke Akutagawa's Kappa.
This is a small number of books wholly inadequate to understand the richness and vastness of Japanese literature for children (3). The scarcity of translated texts prevents us from developing an articulate speech. However, we can report the bad habit of editors or curators of collections, which change and change the titles and even the original texts, often against la volontà dei traduttori. Altre volte sono i traduttori stessi a cercare formule più semplici e banali che rendano i testi appetibili. Insomma, si fa a gara nel tradire l'autore.
Un esempio è costituito da Allarme! Allarme! di Miyazawa, pubblicato da Giunti. Il titolo originale era Asa ni tsuite no dowa teki kozu, ossia Una favola di una mattinata. Il titolo era indicativo e caratteristico, intimamente collegato alla vicenda narrata. A causa di una improvvisa e breve pioggia mattutina un fungo cresce inaspettato gettando nel panico le formiche. Ma l'allarme si rivelerà presto infondato. Come era apparso, così il fungo sparisce cadendo e disfacendosi. La morale è semplice. In un attimo anche le cose apparentemente più grandi possono dissolve. This is the famous Buddhist principle of impermanence. So the short period of time in the morning is crucial because it brings together the incessant becoming of things. The universe may be caught in a moment through the awareness of impermanence.
certainly do not expect publishers to reach the Italian Buddhist enlightenment, but more caution would be desirable. Often describe the Japanese culture as inscrutable, mysterious and complex. In fact we do everything to make it incomprehensible beyond all expectations. Sometimes it did not show any interest in those who are different and can teach us a lot. The other is artificially. Us first define to know him. Well, this is the same attitude you have towards the Japanese literature for children. Then there is the risk, always feared that Italian children are contaminated by other cultures. The suspicion of the Japanese culture is always high. Excluding the exceptional case of Bruno Munari, a genius, but is in contrast to the current mediocrity, no Italian has ever praised the Japanese teaching methods (4). On the other hand we know that The Children's Castle in Tokyo had been written by Martians Munari turning to the only true recipient of the book. When Munari says that you can learn from the Japanese, when the praises Japanese education, you're obviously paying the Martians. Apart from the irony, the issues remain unresolved.
There are two main difficulties to be faced. The biggest problem is the lack of Italian critics of Japanese literature for children. Who can provide an assessment of the Italian translations? Those who know the original texts? Clearly, the backwardness and the poor level of training in the field becomes very clear. Despite the hype and the praise of trade journals, gaps are still enormous. Another problem in the comics and Japanese animation (5). Generally, critics have an attitude of sufficiency, if not contempt, towards comics and cartoons. Not only is behavior incorrect, but even harmful. Comics and cartoons are an extension of narrative by other means. The literary critic can not and must not underestimate the continuity between narrative genres. The works of the master of animation Hayao Miyazaki's masterpieces are well worth the title of "graphic novels". The relationship and continuity between these genres should be studied with caution. Especially in Japan that draws on a broad tradition still strong.
At present ignorance of Japanese literature for children only serves to emphasize any kind of misunderstanding. Do not cry later when the misunderstanding is the scandal turns into conflict. Translating means above all to understand, must listen to and understand each other (not supposed to know already, or worse, denied). In this unfortunate period of history we are still able to listen to others? Probably this is the true and most difficult form of flexibility.
Notes 1. The Davidson's philosophical position is central to contemporary thought and its influence on American linguists is remarkable. See Davidson, Donald, Truth and Interpretation, Il Mulino, Bologna, 1994. But there is a suspicion that Davidson supports a theory that relies exclusively on the existence of a single thought approval. Otherwise it is difficult to understand where they come from so many abstractions.
2. To verify please consult the database of Liber, the updated bibliographic archive on CD-ROM.
3. A small introduction to this rich universe, however, was attempted. See Martorella, Christian, Introduction to Japanese literature for children, in "Topics LG", No.3, XXXVII years, from July to September 2001, pp. 54-58.
4. See Munari, Bruno, The Children's Castle in Tokyo, Einaudi Ragazzi, Trieste, 1995.
5. On the question of adaptations to the core, see Marco Pellitteri. Even if there is a specific discourse about translation, it is indicative of the situation. See Pellitteri, Mark, if fear is synonymous with censorship, in "The Pepeverde", n. 10, 2001, pp. 38-43.
Bibliography
Akutagawa, Ryunosuke, Kappa, trans. Mario Teti, SE, Milan, 1992.
Akutagawa, Ryunosuke, fantastic stories, trans. by Christian Ceci, Marsilio, Venice, 1995.
Kimura, Yuichi, In a stormy night, trans. Paolo Volpato, Salani, Firenze, 1998.
Iwamura, Kazuo, The mice of the family laundry, trans. Akane Suzuki, Babalibri, Milan, 1999.
Hatano, Ichiro and Isoke, Letters to my mother, trans. Luciano Tamburini, E. Elle, Trieste, 1994.
Maruko, Toshi, Hiroshima Lightning, trans. Makiko Yamada, Perosini, Zevio, 1980.
Miyazawa, Kenji, A night on the train of the Milky Way, trans. Giorgio Amitrano, Marsilio, Venice, 1994.
Miyazawa, Kenji, Warning! Warning!, Trans. Hiraishi of Asako, Giunti, Firenze, 1994.
Miyazawa, Kenji, cello Goshu, trans. of Mariko Muramatsu, Happy Life, Milan, 1996.
Yo, Shomei, Planet of the dolphins, the meeting point, Vicenza, 1997.
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