Alessandro Niero

The paper is bibliographical and lists a series of translations of Russian poetry into Italian ca... more The paper is bibliographical and lists a series of translations of Russian poetry into Italian carried out between 1987 and 2022.
Before the bibliographical part, there are some introductory pages that specify the types of publications examined: anthologies, journal issues related entirely or partially (but significantly) to Russian poetry in Italian, and single volumes devoted entirely to poets writing in Russian.
The paper aims to provide materials for a future history of Russian poetry translated into Italian.

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L'arte del possibile: Iosif Brodskij poeta-traduttore di Quasimodo, Bassani, Govoni, Fortini, De Libero e Saba

Iosif Brodskij: russkij na Venecianskom Lido

Europa Orientalis, 2011

Analisi della poesia "Lido" di Iosif Brodskij sullo sfondo della ricezione letteraria d... more

The Great Absentee: Notes on the Italian Reception of Twentieth-Century Russian Poetry for Children

Children's Readings: Studies in Children's Literature

The article offers a review of 20 th century Russian children’s poetry translated into Italian. D... more The article offers a review of 20 th century Russian children’s poetry translated into Italian. Despite the fact that Russia can boast a great tradition of children’s literature in verse, the number of existing Italian translations is not very large and the authors translated are only some happy few. They are Vladimir Mayakovskiy, Osip Mandel’shtam, Boris Pasternak, Korney Chukovskiy and Samuil Marshak. Their not very many texts have mostly appeared for little publishers with scarce circulation. Attention to formal aspects has also not always been impeccable, and no Italian poet has systematically devoted himself to elaborate Italian versions that could aspire to true aesthetic autonomy. This is why, in spite of some notable translations in recent times, we must continue to speak of Russian poetry for children as the great absentee on the Italian cultural scene.

Angelo Maria Ripellino e il 'suo' Lènin di Majakovskij

The article analyses the way Angelo Maria Ripellino translated in 1967 – fifty years after the Oc... more The article analyses the way Angelo Maria Ripellino translated in 1967 – fifty years after the October Revolution! – Vladimir Mayakovsky's long poem Lenin for the Turin publishing house Giulio Einaudi. Judging by the words spent by Ripellino in his Preface to the book and in a letter about Lènin he sent to one of the editors of Einaudi, Guido Davico Bonino, the translation appears to be an intriguing example of work carried out not as the personal choice of the translator, but as a gentlemen agreement between him and the publisher (a sort of social'nyj zakaz, a "social commitment" fulfilled by Ripellino, who at that time was known as the best interpreter of Russian poetry of the first part of the 20th century). Despite this unfavourable circumstances and, consequently, a presumable low degree of congeniality between the translator and the translated one, Ripellino's work is extremely interesting as it reveals an approach to poetic translating that is strikingly...

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