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Journal articles on the topic 'Rodari, Gianni'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Zipes. "Celebrating the Unknown Famous Gianni Rodari." Marvels & Tales 34, no. 1 (2020): 83. http://dx.doi.org/10.13110/marvelstales.34.1.0083.

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2

Articoni, Angela. "Whoʼs afraid of comics? When Gianni Rodari was the ‘devil’ and when he ‘desecrated’ childhood." Rivista di Storia dell’Educazione 7, no. 1 (July 9, 2020): 137–46. http://dx.doi.org/10.36253/rse-9400.

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In order to understand Gianni Rodariʼs originality one must retrace his biography and his work, and take into account that he was proudly a factious man, a politically committed journalist and an expression of primordial Italian post-war left-wing culture. An essential ingredient of his poetry is, therefore, that civil passion that always inspired him. Due to such ‘passionʼ that appears clearly in the first phase of his production, his work was initially opposed by conservatives, clerics and the left-wing party itself. It was the 1950s ‘quando Rodari era il diavoloʼ and even comic strips were considered misguiding and immoral from the point of view of the Communist leaders, as well as the Pope and the Democrats. Rodari tried to change that and, countering Nilde Jotti and Palmiro Togliatti, claimed that comics had the power to conquer a new expressive autonomy useful for spreading progressive ideas among the masses.

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3

Scotti Jurić, Rita, and Lorena Lazarić. "Gianni Rodari: parole per pensare, parole per amare." Italica Belgradensia 2021, no. 1 (2021): 141–59. http://dx.doi.org/10.18485/italbg.2021.1.8.

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4

Alborghetti, Claudia. "An overview of Gianni Rodari's books in translation around the world (2000-2020)." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 469–73. http://dx.doi.org/10.31860/2304-5817-2020-2-18-469-473.

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As the fame of Gianni Rodari reached a new height in 2020 with the celebration of his centennial, this overview of his legacy focuses on the most recent publication of Rodari’s works in translation around the world beginning in 2000. His versatility as a writer for children is evident in his entire body of works, his poetry, and his prose. Rodari’s translations hardly reflect on the diversity of the genres he had employed in his writings. The outcome of my investigation is the following: Rodari’s playfulness in writing, especially in poetry, has found recognition outside of Italy only in Russia. Other countries seem to prefer Rodari’s prose — his short stories or novels, especially his earlier works such as Cipollino and Telephone Tales. More research has to be done to keep Rodari’s popularity thriving, but, as these preliminary findings demonstrate, a renewed interest in the literary legacy of this beloved Italian children’s writer is widely spread nowadays, thus promising new poetic translations.

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5

Von Gina, Weinkauff. "Tante storie per giocare — Gianni Rodari im deutschen Sprachraum." Jahrbuch für Internationale Germanistik 2008, no. 2 (January 1, 2008): 105–38. http://dx.doi.org/10.3726/82031_105.

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6

Carioli, Stefania. "Neorealism in the work of Gianni Rodari. Reflections 100 years after the birth of the author." Rivista di Storia dell’Educazione 7, no. 1 (July 9, 2020): 129–36. http://dx.doi.org/10.36253/rse-9399.

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Within the influence of Gramsci’s pedagogical model in the work of Gianni Rodari, this article examines the novel Piccoli vagabondi (Small vagabonds) (1952-1953), a unicum in the author’s production of Grammatica della fantasia (The Grammar of Fantasy), as it is characterized by neorealistic themes and by a communicative style that uses “proletarian” rhetoric, progressive vision and utopian elements. After mentioning the national issue of the non-existence of children’s literature (which Gramsci mentions in his essays on popular literature) and the neorealistic traits present in Rodari, the paper enters more directly into the merit of the neorealist novel, which presents itself as a document of the pedagogical effort (even contradictory) made by the Partito Comunista Italiano (Italian Communist Party) in the political climate of the “cold war” and as a testimony to the origin of the author’s search to reconcile realism with fantasy, dream and invention.

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7

Salvadori, Maria Luisa, and Alessandra Asteriti Mathys. "Apologizing to the Ancient Fable: Gianni Rodari and His Influence on Italian Children's Literature." Lion and the Unicorn 26, no. 2 (2002): 169–202. http://dx.doi.org/10.1353/uni.2002.0027.

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8

Vidal Carneiro, Leandro, and Fernanda Suely Muller. "BELLA CIAO, OVVERO PERCHÉ VIVO SONO PARTIGIANO: ATIVIDADE DE LEITURA LITERÁRIA NO ENSINO DE ITALIANO COMO LÍNGUA ESTRANGEIRA." Revista de Letras 1, no. 38 (February 12, 2020): 65–81. http://dx.doi.org/10.36517/revletras.38.1.6.

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Considerando o atual contexto de ensino/aprendizagem de Língua Italiana LE no Brasil,neste artigo apresentamos uma proposta de sequência didática para turmas de nível avançado (nívelC1/C2) na qual a fábula Il pozzo di Cascina Piana, de Gianni Rodari, é protagonista e fio condutordas atividades. A inserção de textos literários autênticos no ensino de Italiano LE contribui não sópara o aprimoramento linguístico do aprendente e para a difusão da literatura estrangeira em si,mas também se configura como uma poderosa ferramenta de fomento ao pensamento crítico, oqual pode enriquecer de modo significativo a experiência de aprendizagem na perspectiva do ensinointercultural que pode ser explorado melhor pelo professor de LE em sala de aula, como pretendemosdemonstrar.Palavras-chave: Ensino de Italiano LE. Literatura e ensino LE. Ensino comunicativo e interculturalde italiano LE.

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9

Gómez-López-Quiñones, Loreto. "Metaficción en los libros infantiles italianos del siglo XXI." Ocnos: Revista de estudios sobre lectura, no. 13 (May 28, 2015): 99–115. http://dx.doi.org/10.18239/ocnos_2015.13.06.

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En este artículo se lleva a cabo una revisión de libros italianos para niños publicados en el siglo XXI. En estas publicaciones se aprecia una fuerte tendencia metaliteraria que pone en un primer plano y de forma explícita los mecanismos de la propia construcción literaria infantil. Algunos de estos recursos metaliterarios son la alusión a la propia fisicidad del objeto libro, la indagación en las fórmulas narrativas, la reivindicación del rol activo del lector, la desmitificación del papel del narrador, la puesta en cuestión de la fidelidad del relato, la atención a los aspectos metaficcionales, la reflexión sobre la relación entre la escritura y la oralidad y el énfasis en la capacidad demiúrgica de los dibujos. A través de todos estos mecanismos, (que entroncan con la tradición italiana en autores como Gianni Rodari) se intenta promover una actitud crítica en el niño-lector y una literatura infantil más dinámica y dinamizadora que promueva lectores activos, capaces de crear, imaginar, transgredir y transformar la realidad.

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10

Lepri, Chiara. "Avant-garde and Experimentalisms in Poetry for Children from Rodari to the Present Day: a Travel between Authors and Works." Rivista di Storia dell’Educazione 7, no. 2 (December 2, 2020): 61–74. http://dx.doi.org/10.36253/rse-9654.

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In 1985 Franco Fortini wrote provocatively that poetry for children does not exist, arguing that it is alien to their ability to fully grasp its expressive significance. However, there had already been the experience of Gianni Rodari, from whose contribution the critical and historiographic reflection on an authorial (and quality) poetic word addressed to childhood cannot be ignored: he had placed linguistic game at the center of poetry for children, combining the lesson of French surrealism with the Italian futurist experience of Palazzeschi and he consciously placed himself along that modern poetic line that sees a flowering of great importance especially in the post-war period. It is a type of poetry that is enriched by the contribution of a playful and divergent dimension and that knows how to speak the language of children: the rhythm, the assonance, the rhyme, but also the associative procedures grafted through the surrealist techniques naturally meet the child animus and at the same time open to an articulated, plural dimension, rich in ethical and political tension. Along this trajectory of linguistic experimentalism masterfully inaugurated by Rodari, the contribution intends to identify the paths of other authors in the proposal of a poetry aimed at children that is innovative and valid on a content and formal level: the reference is to Roberto Piumini and Pietro Formentini in particular, who have recognized, in poetry for children and young people, a vast and welcoming space for exploration and expressive freedom, but also, more recently, to the refined research of poetesses such as Chiara Carminati and Silvia Vecchini, whose poetic production is constantly embellished by a reflective work of undoubted charm and of notable interest for the investigation on a literary, aesthetic, educational level.

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11

Poplavskaya, Irina A., and Nazrin R. Efendieva. "The Italian Literary Fairy Tale in the Russian Reception of the 19th–21st Centuries (Giambattista Basile, Carlo Gozzi, Carlo Collodi, Gianni Rodari)." Vestnik Tomskogo gosudarstvennogo universiteta, no. 442 (May 1, 2019): 52–60. http://dx.doi.org/10.17223/15617793/442/6.

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12

Bunn, Daniela. "Jogos de linguagem e jogos de movimento: deslocamentos lúdicos na aula de língua italiana." Perspectiva 38, no. 2 (June 16, 2020): 1–14. http://dx.doi.org/10.5007/2175-795x.2020.e66175.

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O objetivo deste estudo é socializar duas atividades lúdicas de ensino de língua italiana que podem ser adaptadas para outros contextos de ensino. As dinâmicas baseiam-se, principalmente, em jogos linguísticos e jogos de movimento que permitem ao aluno deslocar-se em sala de aula, como, por exemplo, na atividade de desenvolvimento oral Caccia al tesoro (Caça ao tesouro), na qual o aluno deve movimentar-se pela sala em busca de colegas que preencham requisitos orientado por uma série de perguntas lúdicas e nonsense. Atividades de movimento como essa estimulam, além do uso da língua oral e da aquisição de vocabulário, possibilidades de entrosamento e (re)conhecimento de pares no microuniverso da sala de aula. A outra proposta é denominada Il sasso nello stagno (A pedra no pântano) e configura-se como a produção criativa de acrósticos. Essas práticas lúdicas são direcionadas a crianças a partir do Ensino Fundamental II e também a adultos, e se baseiam nos preceitos da Gramática da fantasia (Grammatica della fantasia, 1973), de Gianni Rodari. São jogos que promovem o estranhamento e estimulam a criatividade. Os alunos interagem, refletem sobre a língua, brincam, apre(e)ndem e as propostas didáticas fluem de uma maneira mais espontânea.

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13

Álvarez Rodríguez, Maritza. "Propuesta didáctica basada en las técnicas de Gianni Rodari y los Juegos de Edward de Bono para la producción de textos literarios creativos." Revista de Comunicación de la SEECI, no. 33 (March 15, 2014): 117. http://dx.doi.org/10.15198/seeci.2014.33.117-131.

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14

Massi. "Gianni Rodari's Grammar of Fantasy: Between Education and Revolution." Marvels & Tales 34, no. 1 (2020): 103. http://dx.doi.org/10.13110/marvelstales.34.1.0103.

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15

Hayasawa Masato. "Teaching Creative Expressions in Japanese Language Learning Using Gianni Rodari’s “The Grammar of Fantasy”." Japanese Modern Association of Korea ll, no. 57 (August 2017): 97–114. http://dx.doi.org/10.16979/jmak..57.201708.97.

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16

Campagnaro. "“Pro e contro la fiaba” Fifty Years Later: Is Gianni Rodari's Apologia Still Relevant Today?" Marvels & Tales 34, no. 1 (2020): 109. http://dx.doi.org/10.13110/marvelstales.34.1.0109.

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17

"The Incomprehensible Gianni Rodari." Marvels & Tales 28, no. 2 (2014): 424. http://dx.doi.org/10.13110/marvelstales.28.2.0424.

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18

"Emblematic journeys: Gianni Rodari in the USSR." Cognition, Communication, Discourse, no. 18 (2019). http://dx.doi.org/10.26565/2218-2926-2019-18-02.

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The article focuses on the success of the works of the Italian children’s writer Gianni Rodari in the Soviet Union. One of the reasons for Gianni Rodari’s success in his native Italy lies in his previous popularity in the Soviet Union, thanks to early translations of his works by Samuil Marshak and his numerous visits to the USSR beginning in the 1950s. A committed communist, Rodari wanted to get a better understanding of the country that he admired so much. However, his political attitude was not narrow-minded; he investigated the Soviet education system and style of upbringing and communicated with his readers – Soviet children. In Cipollino, the author created a universally acknowledged ideal of a good and honorable hero who fights for freedom, plays in earnest, laughs at difficulties and strives to grow up into a responsible citizen. There are two main factors that contributed to the success of Rodari’s works with Soviet readers: first, their material contains an in-depth interpretation of the concept of utopia. Rodari understood utopia not as an abstraction but as a real responsibility of humanity for its better future. Second, in his creative work, the author pays great attention to folk art, which is a theme running through his rhymes, fairy tales, and stories. Folk tradition was a fundamental element both in Italian children’s literature and the Soviet children’s literature promoted by Marshak and other prominent writers for children in the first half of 20th century. These two vectors are perfectly combined in Cipollino, a favourite character with Soviet children, whose adventures are still being translated and staged in theatres outside Italy. The interaction of these vectors explains why the Italian writer is still widely read and loved, his poems are included in school syllabi, and his words are acquiring a new meaning in the 21st century. The article also reveals the reasons for the lasting popularity of Gianni Rodari’s translated works in intersemiotic cultural space of film and cartoons, ballet etc in Russia, Ukraine and other post-Soviet states.

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19

Folck, Jordi. "Las siete rebeliones de Gianni Rodari." COMeIN, no. 104 (November 13, 2020). http://dx.doi.org/10.7238/c.n104.2077.

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Este 2020 se conmemora el centenario del nacimiento de Gianni Rodari, escritor, periodista, pedagogo y aún un gran desconocido para muchos lectores. Como comisario del Año Rodari por la Diputación de Barcelona, comparto las aportaciones principales en el ámbito de la creatividad y la educación por las que considero que su figura debería recordarse todos los años y reivindicarse cada día en las aulas.

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20

Tovar Méndez, Rodrigo Andrés. "RODARI Y CEBOLLÍN: HÉROES DE UNA REVOLUCIÓN." AILIJ. Anuario de Investigación en Literatura Infantil y Juvenil, no. 18 (November 6, 2020). http://dx.doi.org/10.35869/ailij.v0i18.2665.

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El presente artículo expone una brevísima reseña biográfica de la juventud del autor italiano Gianni Rodari. Se hace énfasis en los datos que forjaron su labor como escritor para niños y en aquellos que guiaron sus intereses políticos: su vida durante las dos décadas de concierto fascista en Italia, su militancia en el Partido Comunista italiano, su labor como periodista y dirigente tanto de publicaciones como de grupos juveniles y, finalmente, los hechos que lo llevaron a escribir para niños. Para esto, se han tenido en cuenta las circunstancias biográficas que lo formaron como persona y las que, de cualquier manera, influyeron en la formación de su pensamiento y en sus elecciones profesionales. Por último, se habla de su primera obra La novela de Cebollín (1951) como condensación de la posible visión política y social de Rodari en esta primera etapa de vida profesional.

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21

Roghi, Vanessa. "Per una didattica degli errori. A cento anni dalla nascita di Gianni Rodari." Novecento.org 15 (February 1, 2021). http://dx.doi.org/10.12977/nov378.

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22

Porte, Daniela. "Gramática da Fantasia: a criatividade e a produção de textos na EJA." Revista Polyphonía 29, no. 2 (February 8, 2019). http://dx.doi.org/10.5216/rp.v29i2.57113.

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Este artigo tem por objetivo apresentar os desdobramentos de uma experiência de produção de textos na aula de português para educação de jovens e adultos, analisando, especificamente, marcas de oralidade que, de modo comum, manifestam-se no texto escrito dos estudantes no nível básico. Trata-se de atividade retirada do livro Gramática da Fantasia, de Gianni Rodari (1982), obra que, ainda hoje, mostra-se bastante pertinente para o trabalho com língua materna centrado no exercício da linguagem e não apenas na prática metalinguística. O referencial teórico para análise dos resultados ancora-se nos estudos funcionalistas de Eugenio Coseriu (1980), mas também conta com as orientações da linguística aplicada ao ensino de língua materna de UCHÔA (2007), AZEREDO (2007) e BITTENCOURT (2010). Nesse sentido, a atividade propicia a reflexão sobre a importância da criatividade, tomada como propriedade essencial da própria linguagem, fundamental ao desenvolvimento da competência linguística discente.

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