Присвячено італійському перекладу шевченківської поезії (Кобзар), над яким працювали Дж. Броджі та О. Пахльовська. В основній частині проаналізовано фрагменти із найвідоміших віршів Тараса Шевченка й зосереджено увагу на окремих фоностилістичних засобах(рима, ритм поезії тощо) і найтиповіших лексико-граматичних трансформаціях. Окрему увагу зосереджено на проблемі збереження оригінальних образів з урахуванням культурно-лінгвістичного контексту у процесі перекладу. Розглянуто рецепцію і специфіку перекладів поезії великого українського поета в Італії з метою глибшого розуміння критичних моментів під час роботи з текстом.
Sevcenko"s The article is devoted to an analytic evaluation of the Italian translation of Taras Sevcenko"s poetry ("Kobzar") carriedout by G. Brogi and O. Paxl"ovs"ka. Despite the fact that Sevcenko"s poetic works had been translated into many world languages, the Italian reader, until 2015 had a rather limited access to the poet"s verses. In this context, the publication of a translated collection of the most substantial work of Sevcenko"s poetry ("Taras Sevcenko"s. Dalle carceri zariste al Pantheon ucraino", Eng. translation: "Taras Sevcenko"s. From the Tsarist prisons to the Ukrainian Pantheon"), preceded by well-documented a&nd explanatory chapters on the biographic vicissitudes of the poet in which also his motifs and the historical-cultural milieu have been illustrated, has had a significant impact for the further development of the Italian-Ukrainian cultural-linguisti&c and literary relations. If the wide range of lexical-stylistic combinations associated with mythopoetic symbols, the use of elements derived from popular poetry and folkloristic genres along with expedients typical of earlier East Slavic literary t&raditions render the Ukrainian poetical text unique, the process of its decodification and rendering in another language represents a difficult undertaking for the translator. In this study, we first outline some earlier translation attempts of Sevce&nko"s poems in Italy and the perception of his poetry and personality over the last century. Successively we analyze a number of selected fragments consistently chosen among the most renowned verses of the great Ukrainian poet. The focus remains on t&raditional aspects of poetic translation such as phonostylistic features (e.g. rhyme, rhythm, alliteration etc.) and lexical-grammatical transformations. The Italian translation confirmed that it is, at times, extremely difficult, if not impossible, &to preserve, the rhythmic and rhyme peculiarities of Sevcenko"s versification. However, it is worthy to point out that the main aim of the translators was to convey the underlying meaning of the original poetry. At the same time, they tried to preser&ve, as much as they could, the poetic images. The poetic competence of the translators combined with their textual-literary expertise succeeded, in some fragments, to approximate the Italian translation to the Ukrainian original verse. On the other h&and, the translation of other verses, for the reasons already expressed, was less effective.
