Adventures Of Pinocchio Research Articles

Genre of Comedy Ballet in Music of Yurii Shevchenko as an Effective Tool for Overcoming Social and Psychological Traumas of War: on the Example of Ballet “The Adventures of Pinocchio”

The purpose of the study is to substantiate and reveal the cultural potential of the comedic ballet genre as an effective tool for overcoming the social and psychological traumas of war on the example of Yurii Shevchenko's ballet “The Adventures of Pinocchio”. The research methodology is based on the complex application of specifically scientific methods (historical, systematic-analytical, hermeneutic, and generalisation). The historical method is used to study the topic in its historical retrospective, understanding the origins, which helps to establish links between the studied ballet productions and the socio-cultural landscape of their creation and performance. The systematic-analytical method is applied to explain the art of interpretation, in particular, the content and semantic aspects of musical and stage works through the correlation of higher-order aggregates of different structural levels – composition, instrumental accompaniment, and the choreographic part of the production. The hermeneutic method is used to study the musical framework of ballets, which can have many different interpretations. The method of generalization is used to generalise common scientific principles and regularities, and helps to identify the overall trends in the development of ballet music in different periods of composer Yurii Shevchenko's work. The scientific novelty of the study lies in the consideration of the genre of comedy ballet as an effective tool for overcoming the socio-psychological trauma of war, which contributes to the restoration of the moral and psychological state of society, the improvement of morale, and the return of faith in justice. The ballet “The Adventures of Pinocchio” by Yuriy Shevchenko is presented, which is a vivid example of the composer's work in the context of the current conditions of the Ukrainian theatre. In the course of the study, the scientific justification of the comedy ballet genre is expanded and supplemented. Conclusions. The article reflects the significance of theatre music as an important component of the artistic and creative activity of theatre groups in modern conditions. The evolution of theatre music testifies to its connection with modernity, and also reveals a tendency to strengthen the role of art and culture in the education and support of positive social values. The direct connection of the creative tasks of theatre music with the present is observed. It is established that there is a consonance of manifestations in music of both traditional folklore motifs and new national and cultural characteristics, which allows it to become more emotional and understandable to the audience. It is stated that Ukrainian society, traumatised by war, is going through a difficult historical, moral, and spiritual period. There is a need for music, in particular, for theatre performances, which will play not only an aesthetic role, but will also become a means of restoring a positive attitude, help overcome war-related traumas, and have a powerful cultural and therapeutic function. It is shown that one of the vivid examples of the development of the comedy ballet genre in theatre music is the work of the famous Ukrainian composer Yurii Shevchenko and his ballet “The Adventures of Pinocchio”. This ballet is an apt example of how art can help maintain a positive attitude and hope for the future in difficult times of social disasters and become an important support for people during wartime. The story of Pinocchio and his friends, which is presented through classical dance, comedy ballet, grotesque, and pantomime, shows that good triumphs over evil in any circumstances. The ballet “The Adventures of Pinocchio” provides the audience not only with entertainment and relaxation, but also helps to maintain a positive attitude, hope for the future and is an effective tool for overcoming the socio-psychological traumas of war. Key words: genre of comedy ballet, ballet «The Adventures of Pinocchio» («Pinocchio and the Magic Violin» until September 2022), Yuriy Shevchenko, ballet theater, choreography, musical theater, stage art, musical art, academic and non-academic music, synthesis of musical and choreographic art, art therapy function, socio-psychological traumas of war.

The Adventures of Pinocchio – Education

Carlo Collodi, a positive representative of the Italian petty bourgeoisie of the late nineteenth century, presented in the novel the moral virtues of a secularized rural Italy. He inserts moralistic exhortations and reflections in the novel, to give up the waste of time to dedicate to study, hard work and savings. Pinocchio's negative experiences and the good advice of the Fairy guide him in the end on the right path, after he understood the importance of study and work, thus fulfilling his desire to be transformed into a child.

Identity and Artificial Intelligence in The Adventures of Pinocchio

Pinocchio is, above all, what he is not. His identity is often played to the limit, imagined by himself and everyone he meets along the way. Pinocchio is the name of life that is simultaneously inorganic, human and animal. For this reason, it is the possible name of a radical desertion: to identify at the same time with oneself and with someone other than oneself. One question that can be deduced from The Adventures of Pinocchio is whether such an intelligent machine would like to become "human"? In fact, before Pinocchio becomes a real boy, he does everything that real boys do, including the disobedience to their parents.

КУКЛА ОТТЕПЕЛИ: "ДОСТРАИВАНИЕ" СКАЗКИ О БУРАТИНО В СОВЕТСКОЙ ДЕТСКОЙ ЭКРАННОЙ КУЛЬТУРЕ 1950-1960-Х ГГ

The article is based on documentary materials on the film “The Adventures of Pinocchio” (A. Ivanov-Vano, D. Babichenko). During the years of the Thaw, cinematographers argued about the need for a film based on the fairy tale story by A. Tolstoy. By this time, stereotypes had formed in solving the image of Pinocchio, which were gradually revised in Soviet children’s culture: in theater, illustrations, comics, filmstrips. The new film adaptation was made by A. Ivanov-Vano and D. Babichenko. Different assessments of this idea are given, the cultural and historical landscape on which the film originated is reconstructed. The reference point for the new animated film was the production of W. Disney. The previously unpublished documents on the production of the film, materials of the art councils of Soyuzmultfilm (RGALI) are analyzed. They allow us to construct key discourses within which leading children’s artists (E. Migunov, V. Suteev, L. Atamanov, F. Khitruk, etc.), which were authors of the main animation studio of the country “Souzmultfilm”, created their images.

Reading gender in classics of children’s literature: the anthropomorphic representation of gender in Carlo Collodi’s Le Avventure di Pinocchio

ABSTRACT This paper examines the way in which translation and re-editioning intervene in the representation of the mutable concept of gender in a classic of children’s literature. It explores Carlo Collodi’s Le Avventure di Pinocchio [literally: The Adventures of Pinocchio] (1883) and the first English translation of the novella (1892), as well as selected re-editions and reprints of this translation (1911-2011), focusing on the anthropomorphic characters of il Gatto [The Cat] and la Volpe [The Fox]. Through a comparative analysis of the ways in which gender is constructed through these two characters in the source text, the first English translation, and the re-editions and reprints, this paper foregrounds how the translation process can influence the portrayal of the social construct of gender that is presented to the child reader. The analysis reveals that the first English translation reverts to conventional gendered ideologies that reinforce the model of the androcentric society, an aspect that is absent from the Italian tale. This idea is carried through time in the re-editions and reprints, some of which were published in the twenty-first century after the social construct of gender had arguably become framed differently to how it was regarded in the nineteenth and twentieth centuries.

PINOCCHIO FROM FLORENCE IN RUSSIAN BERLIN

The article deals with the story of Carlo Collodi’s “The Adventures of Pinocchio”, translated by Nina Petrovskaya and revised by Aleksey Tolstoy in Berlin at the time of their collaboration in the newspaper “Nakanune”. Attention is drawn to the use of commedia dell’arte characters’ names in international political newspeak in connection with the press appearances of A. Gramsci whose biography is closely linked with pro-Bolshevik circles in Berlin and Moscow. The interest in the translation of “The Adventures of Pinocchio” in the Russian press in the 1920s was most probably linked to the beginning of Soviet-Italian relations and the choice of future course facing Russian emigrants. The hypothesis of the different positions of Aleksey Tolstoy and Maksim Gorky concerning the question of return to Russia is put forward. The circumstances of the choice of the book for translation and the alignment of translation by Nina Petrovskaya and processing of the translation by Aleksey Tolstoy are described. Emphasis is placed on the anti-fascist movement, the centre of which was Florence, the city of Carlo Collodi. Petrovskaya’s anti-fascist views and Tolstoy’s pro-Soviet stance enable us to see the tale from the perspective of social struggle and personal choice. The roles of both Russian authors in the work on the book and their relationship to the Italian-Russian patronage family Signorelli are clarified. The re-addressing of the tale, which predetermined the further oblivion of the Berlin book, is explained: the new translation was addressed not so much to children as to adults, Russian émigrés.

The adventures of translation in The Adventures of Pinocchio

Η έρευνα κατά τις τελευταίες δεκαετίες στον τομέα της μετάφρασης και των πολιτιστικών σπουδών έδειξε ότι, κατά τη μεταφορά ενός λογοτεχνικού κειμένου από ένα γλωσσικό / πολιτιστικό σύστημα σε άλλο, χρησιμοποιούνται τροποποιητικοί μηχανισμοί. Σύμφωνα με σχετικές μελέτες, η ανάλυση του πώς οι μεταφραστές διαχειρίζονται πολιτισμικά αλλότρια στοιχεία παρέχει πληροφορίες για τη δυναμική της διαπολιτισμικής λειτουργίας του μεταφρασμένου κειμένου. Το ίδιο το κείμενο είναι επίσης ενδεικτικό των ιδεολογικών αξιών που προωθεί η εγχώρια βιομηχανία βιβλίων. Συγκεκριμένα, στην περίπτωση της παιδικής λογοτεχνίας, μελέτες έχουν δείξει ισχυρές τροποποιήσεις στις μεταφράσεις. Αυτή η τάση έχει προκαλέσει αμφιβολίες σχετικά με τις έννοιες της διαπολιτισμικότητας και της ένταξης που φέρεται ότι συνδέονται με τη Παιδική Λογοτεχνία. Η παρούσα μελέτη εξετάζει την ποικιλομορφία της μεταφρασμένης παιδικής λογοτεχνίας αντιπαραθέτοντας τις πρόσφατες μεταφράσεις του κλασικού βιβλίου The Adventures of Pinocchio στα ελληνικά και τα τουρκικά με το αρχικό ιταλικό κείμενο. Οι μελέτες περιγραφικής μετάφρασης χρησιμοποιήθηκαν ως σημείο αναφοράς. Οι στρατηγικές των μεταφραστών εξετάζονται και σχολιάζονται σε σχέση με τις αξίες και τις αρχές του πολιτισμού-στόχου και το κοινωνικοπολιτικό πλαίσιο της περιόδου κατά την οποία εκδόθηκε κάθε μεταφρασμένη έκδοση. Η συγκριτική μελέτη των μεταφρασμένων κειμένων έδειξε ότι οι ελληνικές μεταφράσεις τείνουν να είναι πιο πιστές στο αρχικό κείμενο, ενώ οι τουρκικές μεταφράσεις εκδηλώνουν μια κλίση στις ηθικές αξίες που συνδέονται με τα εθνικά και θρησκευτικά ιδανικά.

The Posthumanist Child: Pharmakon and Collodi's Pinocchio

The childlike elements of deconstruction—deconstruction's suggestion of play—require an interdisciplinary attention that they have previously not been afforded in scholarly discourse on Derrida. The power of the child in children's literature scholarship has similarly been immune to binary-disrupting forces common in adjacent literary fields; such immunity has been granted under the banner of ‘aetonormativity,’ which norms adult power while subverting that of the child. In light of the posthumanist turn in critical thinking, which demands a dissolution of binaries in favour of heterogeneity, deconstruction offers a novel approach to analysing the child in children's literature. In this paper, I draw upon Donna Haraway's diffractive approach to textual analysis to read Derrida's discussion of pharmakon through Maria Nikolajeva's conceptualization of aetonormativity. The resulting shift in understanding of both concepts allows for a reading of Carlo Collodi's The Adventures of Pinocchio that explores a figure I term the posthumanist child, whose undecidable embodiment works to disrupt the aetonormative binary.

ФІЛЬМИ ПРО ДІТЕЙ, ДЛЯ ДІТЕЙ І НЕ ТІЛЬКИ ДЛЯ ДІТЕЙ

In Soviet times, cinema for children and adolescents received considerable attention. Already since 1924 began the regular release of children's films. In the 1930s, paintings of various genres appeared on the screen: Torn Shoe, Captain Grant's Children, New Gulliver, Golden Key, Space Flight, Castle Border, Pike Command, and others.Yes, the real heyday of cinema for children and adolescents came during the "Thaw" period. There are various tapes on the screen - modern, historical subjects, fairy tales. At the same time, so-called "problem films" appear. It all began with the infamous "Rose Boys": "In Good Time" (1956), "Noisy Day" (1961).Soviet cinema was filled with new themes, problems, characters, and with it grew up cinematography for children and adolescents. In the 1960s, such iconic, problematic tapes as "Sergiyko", "And if this is love?", "Three Days of Viktor Chernyshov" and others. These were movies about children, but not just for children. Then the family movie comes into play.Movies of the 1970s - 1980s are even more problematic. "Movies of moral concern", so you can define the films "Other People's letters", "Scarecrow", "Plumbum or Dangerous game", "Dear Elena Sergeyevna", "My name is Arlekino" and others. All the nightmare that could only be dreamed up in a horrible dream became the reality and everyday life of our existence. These films can be conditionally defined as "films of moral concern". These works, as a thin barometer, diagnose the spiritual crisis of society, and appear in the cultural space of the country in the face of serious, global social upheavals.At the same time, good, all familiar films appear on the screen: "Teacher of singing", "Car, violin and blotch dog", "Adventures of Pinocchio", "About the Red Riding Hood", "Adventures of Electronics", "Mary Poppins, Goodbye!", "The Adventures of Tom Sawyer and Huckleberry Finn", "The Guest from the Future", "The Adventures of Petrov and Vasechkin ...", and many others.After the collapse of theSoviet Union, cinema for children ended. Has the modern generation of children grown so much that they do not want to read books, watch movies intended for them? Could society's coordinates and priorities have changed so much? Or is society itself brushing aside unwanted problems? But most of all, the modern world simply does not know where it is headed, what ideals, directions of development can be offered to humankind, and above all, its youngest part. Art, in particular cinematography, not only reflects the stages, events, problems of the social history of mankind, but also warns, encourages, educates, supports during a difficult hour. And if art retreats, its place is occupied by masculinity - ersatz and palliatives of art. Musculature shapes so to speak a one-dimensional person who lives only in material needs, without noticing spiritual values. Musculature destroys personality, unifies consciousness. Through psychological processing, it imposes political stamps, social myths, household cliches through the media. A variety of shows, heartfelt conversations about the topical, television series and films of dubious quality, like a spider web, entangle a person, turning him into an obedient doll, devoid of personal thought and freedom.The process of dehumanization of art is dangerous for society, especially for its young part, since it leads to emotional and intellectual sterilization. It would not be desirable to speak banal truths, but good films about children, for children and not only for children, could make their contribution, as they said, “to the upbringing of the younger generation”. And if in doubt, it's worth turning through our movie history pages.

A tradução de literatura infantil para Libras: a expressividade do corpo na produção de sentidos

Este artigo objetiva analisar a tradução de Libras no contexto contemporâneo, tomando como foco a expressividade do corpo como elemento produtor de sentidos. Ancorados nos estudos de Hall (1997), Karnopp (2013), Morgado (2011) e Chartier (1990), entre outros, pretende-se descrever e interpretar a performance poética dada a ver na obra literária “As aventuras de Pinóquio”, produzida pela Editora Arara Azul. Na análise, almeja-se identificar os modos como o tradutor utiliza as expressões faciais e corporais, os classificadores, o olhar, a movimentação dos ombros e a incorporação de personagens com vistas a verificar se ocorre uma materialização da literatura do/no corpo do sinalizador por meio dos recursos expressivos da Libras. No estudo, foram utilizados os princípios metodológicos da pesquisa documental. A partir das análises foi possível perceber que o tradutor lançou mão do uso abundante dos classificadores, das expressões faciais/corporais, dos movimentos e dos elementos imagéticos, todos em consonância uns com os outros para que o leitor (receptor) derive claramente a trama. Com esses recursos, cria possibilidades para que o leitor possa se emocionar e envolver-se na história ao ver/ler a narrativa performatizada no corpo do sinalizador.

Re-reading The Adventures of Pinocchio from the Perspective of the History of Redemption

Re-reading The Adventures of Pinocchio from the Perspective of the History of Redemption

El proyecto común de lectura: explotación didáctica interdisciplinar de Las aventuras de Pinocchio (1882-1883), a partir de la metodología del centro de interés

The Proyecto Común de Lectura is an initiative of different educational members related to the reading and use of literary texts. This article presents and critically evaluates the reading activities that the members of this project implemented from a common interest in reading. Those activities included facilitating the solid construction of reading and literary competence in students in early years, Primary Education and Secondary Education. The literary text that was selected for this purpose was The Adventures of Pinocchio (1882-1883), by Carlo Collodi. This approach also shows how interdisciplinary reading contributes, through focused methodology, to its use in several fields of knowledge at different levels of teaching and learning, and from different perspectives of reading and comprehension of the literary text.

Marketing Soviet Nostalgia: The Many Faces of Buratino

Nostalgia for the foods consumed in childhood is a phenomenon extensively documented by food studies scholars and exploited by marketers around the world. This article traces the evolution of the Soviet children's soft drink Buratino from its origins in the Brezhnev era through a variety of post-Soviet incarnations. The character featured on the label, drawn from A. N. Tolstoy's 1935 book based on Carlo Collodi's Adventures of Pinocchio, is both instantly recognizable and remarkably protean in nature, combining the archetype of the trickster from the original literary text with a more benign representative of Soviet values depicted in a 1975 film adaptation. Using Douglas Holt's premises in his book How Brands Become Icons (2004), I argue that what would seem like an easy transition from literary character to advertising icon is complicated by the limitations of nostalgia-based marketing, changing consumer perceptions, and lack of clarity in trademark law. The article concludes with an analysis of the marketing strategy of the Kazakh company Caspian Beverage Holding, which has been singularly successful in recognizing the potential power of the brand and adapting it to a new, post-Soviet market.

Teaching SF and Future Society: The Dystopian World in A.I. and Super-Toys Last All Summer Long and Other Stories of Future Time

This essay intends to research and teach the dystopian world of Stephen Spielberg’s A.I.Artificial Intelligence (2001, hereafter A.I.) and Brian Aldiss’s Science Fiction, Super-Toys Last All Summer Long and Other Stories of Future Time (1969) on which A.I. is based. A.I. is based on the screen script of a ‘Pinocchio’s picaresque robot version’ by Ian Watson, a British science-fiction author, which was based on Super-Toys Last All Summer Long, Carlo Collodi’s Adventures of Pinocchio (1883), and Hans Moravec’s Mind Children: The Future of Robot and Human (1988). A.I. includes Spielberg’s happy ending and family ideology. However, Kubrick’s influence is evident everywhere in the film: the family is the greatest horror when humans show their selfishness to non-humans. Gigolo Joe, an android robot, walks in his stride, who is more elegant and amoral than humans. In the Flesh Fair, robots are cruelly destroyed by humans. David in the amphibicopter has reached a deadlock with the statue of Blue Fairy. Above all, in the last scene of post-human beings, the revolved robots consider the ruins of humanity to be bleak. In this respect, the film A.I. represents a dystopian world based on Aldiss and Kubrick’s insight that Android goes beyond human beings in Spielberg’s family oriented film.

Alice and Pinocchio: National Stereotypes and International Classic Fantasy

ABSTRACTCarroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass, and Collodi’s The Adventures of Pinocchio are among the most famous, most translated books in the world: they are national and international classics. Despite the fact that Pinocchio is widely regarded as stereotypically Italian and Alice as stereotypically British, they have transcended their national origins. The books share generic elements and tropes of international fantasy traditions modulated by their creative moments the Italian Risorgimento and the British high-Victorian period. In their globalization (or glocalization) through translations, adaptations, and Disneyfication, the national characteristics of these books have either been lost, or have been developed into caricatures and stereotypes (Pinocchio, like the Italians, is wild, emotional, and unreliable; Alice, like the English is calm, unemotional and self-assured). This article discusses the ways in which the national stereotypes and national characteristics (inherent or perceived) in these books are absorbed into, or conflict with, international concepts of fantasy.

Trabalho, escola e brincadeira. A utopia de Pinóquio

Las Aventuras de Pinocho relatan la Historia de un Muñeco que se transforma de un estado de naturaleza para un estado de cultura y se desarrolla moralmente de la heteronomía para la autonomía. En el curso de su formación, experimenta la desilusión del milagro de la multiplicación del dinero sin trabajar y de la utopía de una tierra donde solo existe el juego –sueño de cualquier niño–, lo que lo reduce al estado animal. La metáfora del burro que se aplica al niño que fracasa en la escuela es adaptada a la situación del muñeco animado, evidenciando una perspectiva cultural sobre las consecuencias del prolongamiento temporal del estado de naturaleza y dejando a quien se escapó de la escuela, primero la ociosidad y más tarde el trabajo duro y el autoaprendizaje.

Translation of Children's Literature in the Soviet Union: How Pinocchio Got a Golden Key

This article analyses ideological influence on the translations of children's literature in the Soviet Union where translation was seen as an ideological tool and was expected to promote ideological values. Changing and adapting the source texts according to the newly established ideological demands was a common practice. Soviet children's literature was also used as a means of propaganda and a strong pedagogical instrument of education of new Soviet citizens. To explore how the Soviet ideological message was promoted within children's literature, I will analyse Alexei Tolstoy's adaptation of Carlo Collodi's The Adventures of Pinocchio (1883), entitled Zolotoi kliuchek ili prikliucheniia Buratino [The golden key or the adventures of Buratino]; henceforth The Golden Key), published in the Soviet Union in 1935. In Tolstoy's version the original underwent direct ideological changes. As one of the most successful children's stories introduced into the Soviet environment, The Golden Key depicts the values of the system under which it was written, including abolition of private property, the importance of collective labour, and the idea of equality and socialisation.

Reconciling Geppetto: Collaboration, (Re-)Creation, and Deception in the Practice of Hip Hop Music Ethnography

Reconciling Geppetto:Collaboration, (Re-)Creation, and Deception in the Practice of Hip Hop Music Ethnography Anthony Kwame Harrison (bio) Carlo Collodi’s The Adventures of Pinocchio is a story of wood coming to life.1 Certainly all wood is at some point alive, but Pinocchio’s story is about the resilient life-force of “a regular woodpile log” (Collodi [1883] 2009: 3). The log first announces its animation through voice. “Don’t hit me too hard!” (3) it pleads to an old carpenter looking to make a table leg. When the carpenter’s neighbor, the spry and hot-tempered Geppetto, acquires the log, he first names it Pinocchio (after a family he once knew) and then carves it into a marionette—both acts that further anthropomorphize the wood. As the story unfolds, Pinocchio walks out on Geppetto, journeying into a world full of talking animals and zoomorphic humans.2 One overriding theme in Pinocchio’s adventure is transgression—described by Charles Klopp as “the testing if not the breaking of . . . social norms” (2006: 28). The rebellious Pinocchio refuses to conform. Rather than being “obedient” and “going to school,” which is what proper boys do (91), Pinocchio the scamp wants to pursue the trade of “eating, drinking, sleeping, playing, and wandering wherever [he likes] from sunup to sundown” (14). That such characteristics are typically associated with the lives of entertainers should not be lost here. Indeed Pinocchio, who is most concerned with satisfying his immediate wants, is initially lured from his path to school by “the music of fifes and the beats of a big drum” (27) and goes on to spend a short stint as a stage-performing jackass. In his introduction to Geoffrey Brock’s 2009 English language [End Page 38] translation of the Italian classic, Umberto Eco insists that though “simple in its prose—and musical in its simplicity . . . Pinocchio is not a simple book” (2009: x). Surpassing the protagonist’s propensity to tell falsehoods—a quality responsible for engendering the puppet’s most memorable physical attribute—Pinocchio’s greatest character flaw is his insatiable wanderlust, which encourages an astonishing gullibility that makes him easy prey for swindlers like the Fox and the Cat. Yet by the end of the book, or the key sequence that Dennis Looney describes as “the beginning of the story’s end” (2006: 38), Pinocchio’s seemingly tragic shortcomings come back to save the day. After he reunites with Geppetto in the belly of a monstrous Shark, it is Pinocchio’s refusal to accept his fate that prompts him, against his father’s “better” judgment, to lead their escape—and when the initial effort fails, to “try again” (150). It is this deep desire to explore, discover, and above all else, survive that carries Collodi’s hero from the stacks of a woodpile along the circuitous road to full humanity. The following essay consists of three sections. In the first—the Adventures of Mad Squirrel—I narrate the development of my scholar-practitioner identity as both an ethnographer and a member of a Bay Area underground hip hop collective.3 This includes an elaboration on the network of interpersonal relations and tensions I entered into as a result of my decision to follow such a research path. I also reflect on the nature of collaborative ethnography and discuss how several issues surrounding it apply to both popular music studies in general and the context of my research in particular. In the second section, Forest Fires Collaborations, I outline several registers through which my collaborative ethnographic research and relationships resound. By considering key dynamics and moments in these ethnographic partnerships, I underscore the different ways in which knowledge emerges through complex and shifting negotiations of power. More specifically, I argue that participatory participant observation renders a different epistemological basis of inquiry, which recasts the ethnographic “field” as a dynamic and conceptually bounded space of knowledge acquisition and production. In the final section, I problematize the notion of research collaboration by discussing the multiple and ambiguous tensions between trust and deception that saturate these in-the-field relationships. My overall aim is to direct attention to the chorus of possibilities that [End Page 39] collaborative...

L’indisciplina e il suo contenuto sociale da Collodi alle riletture di Carmelo Bene e Luigi Malerba

This paper shows how in Carlo Collodi’s The Adventures of Pinocchio (1881) and in its subsequent rewritings by Carmelo Bene and Luigi Malerba, futurity is coded into indiscipline. In Collodi’s version, Pinocchio appears as an insatiable machine guided by the pleasure principle defying the ideals of hard work ethic and obedience of the Post-Risorgimento period. Here Pinocchio reflects the open contradiction between the rhetorical fullness of the national project, with its ethic of sacrifice and deferral of satisfaction, and the economic lack of the masses--what Marcuse called Lebensnot--that, through the affirmation of an immediate exigency for fulfillment, project the vision of a different society. The social character of this imagery shifts in the twentieth century as the industrialization of the country establishes the basis for a modern affluent society. Carlo Bene’s play Pinocchio (1961) and Luigi Malerba’s Pinocchio con gli stivali (1977) bear testimony to a different kind of unruliness in which negation replaces affirmation. In both works, Pinocchio’s indiscipline articulates a radical denial that defies the freezing of the social dimension into the fix coordinates of over-consumption and mechanization of individuals that characterized Italian modernization.

L’Adaptation de textes littéraire dans le cadre de la littérature de jeunesse: Le cas pinocchio

Youth literature has an important place in today’s publishing world, especially since it became a part of the school curriculum in France in 1982. This literary domain, once considered a subgenre, is now regarded as a means for helping the younger reader to achieve a higher reading level, both in length and in complexity, as in the case for books listed as literary ‘classics’ that may appear to be of more difficult access. Adaptations put these novels within reach of the young reader. Yet a number of questions pose themselves when it comes to the issue of literary adaptations: in what exactly does an adaptation consist? How is the original transformed? Authorship after the adaptation? Is not the adaptation then a kind of translation? In considering a concrete example like the Adventures of Pinocchio by Carlo Collodi I will attempt to address these questions, or at least initiate the thought process regarding our subject.