ІТАЛІЙСЬКА РЕЦЕПЦІЯ ЛІРИКИ ЛІ ЦІНЧЖАО

Abstract

The article examines the process of primary and secondary reception in Italy of the work of the Chinese medieval poetess Li Qingzhao, whose works are experiencing a real revival in modern China and are increasingly appearing in various anthologies of Chinese poetry. The analysis of the process of reception of medieval Chinese lyric poetry carried out in the article proves that Italy demonstrates a Western worldview radically different from the Asian one and a corresponding way of assimilating other literature. The study of a special form of reception – the perception of a non-national work is impossible without taking into consideration one of the fundamental principles of receptive aesthetics – the “principle of the history of influence”, which provides an analysis of the history of artistic phenomena in non-national culture, which is necessary to understand the true meaning of the artistic phenomenon. Almost inaccessible materials that have been collected in Shanghai and Rome have been used in the research. Anna Bujatti’s collection of translations “Come in sogno”, A. Bellettato’s book “I versi di pura giada di Li Qingzhao” that has been found in the library at the Casamari Abbey (Italy), and the book of S. Sabbadini and L. Chen “Una fragranza nell’aria” become the object of scientific comprehension. Analysis of the first Italian translations of Li Qingzhao, carried out in 1996 by Anna Bujatti in the collection “Come in sogno”, allows us to consider this book as an example of an integration type of interliterary ties, which results in the inclusion of this new text, which is not identical to the Chinese original, as an independent artistic phenomenon in the context of the perceiving Italian literature and influenced its further development. Various forms of secondary reception of Yi An’s lyrics in Italian translations-variations by Angelo Bellettato, translations-commentaries by Sergio Sabbadini and Lei Chen, the educational work of Renzo Cremona as an organizer of reading conferences-evenings dedicated to Chinese medieval lyric poetry indicates the interest of contemporary figures of Italian culture in Chinese poetry and about the prospects of further “entry” of Li Qingzhao’s lyrics into the literary and cultural space of Europe, which in some way will contribute to the development of dialogue between cultures of West and East.