One of the books accepted by the cultural policy of the Romanian regime, the novel "Lessico famigliare" by Natalia Ginzburg, won the Strega Prize as early as 1963, the year it was published by Einaudi. The Romanian version, translated by Elga Mayer and published in 1981 by the prestigious Univers publishing house in Bucharest, contains a series of interventions that reveal the overarching control to which every printed publication was subject and, in particular, certain types of censorship constraints that were in effect during the dictatorship period. The essay will highlight the elements that culturally mark the Romanian translation and the edition as a whole: greater attention will be paid to the critical examination and commentary on the set of notes (footnotes or otherwise) and the paratexts, while also providing insights into the reasons that made this novel not only acceptable but even welcomed by the censorship apparatus. The analysis will show the significance that the openly antifascist stance, professed with militant conviction by the writer and her “families”, had assumed among the ideological criteria for acceptability: from the Levi family, the Jewish family into which Natalia was born, to the family Natalia formed after her marriage to Leone Ginzburg, and also by the “Einaudi family”, for which the author had worked, in close collaboration with prominent antifascist intellectuals, initially from the Turin editorial staff, and later, from the Roman one.
Il romanzo autobiografico di una scrittrice accettata. La traduzione del "Lessico famigliare" di Natalia Ginzburg
Emilia David
2025-01-01
Abstract
One of the books accepted by the cultural policy of the Romanian regime, the novel "Lessico famigliare" by Natalia Ginzburg, won the Strega Prize as early as 1963, the year it was published by Einaudi. The Romanian version, translated by Elga Mayer and published in 1981 by the prestigious Univers publishing house in Bucharest, contains a series of interventions that reveal the overarching control to which every printed publication was subject and, in particular, certain types of censorship constraints that were in effect during the dictatorship period. The essay will highlight the elements that culturally mark the Romanian translation and the edition as a whole: greater attention will be paid to the critical examination and commentary on the set of notes (footnotes or otherwise) and the paratexts, while also providing insights into the reasons that made this novel not only acceptable but even welcomed by the censorship apparatus. The analysis will show the significance that the openly antifascist stance, professed with militant conviction by the writer and her “families”, had assumed among the ideological criteria for acceptability: from the Levi family, the Jewish family into which Natalia was born, to the family Natalia formed after her marriage to Leone Ginzburg, and also by the “Einaudi family”, for which the author had worked, in close collaboration with prominent antifascist intellectuals, initially from the Turin editorial staff, and later, from the Roman one.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.


