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Emilia Mirazchiyska

Emilia Mirazchiyska (1972) vive e lavora a Sofia, Bulgaria, dove è nata. Editore e direttore della piccola casa editrice Scalino include a catalogo anche due antologie in italiano da lei curate: Maternità possibili (insieme a Rayna Castoldi, 2011) e Saluti a Dickens – 15 storie di Natale (2012). Oltre ad aver insegnato per anni storia dell’arte al Liceo Italiano a Sofia, è traduttrice: a sua firma la versione tradotta del primo romanzo di Francesca Lancini Senza tacchi (Milano, Bompiani, 2011). Ha inoltre tradotto dal bulgaro all’italiano anche i poeti Georgi Gospodinov (Romanzo naturale, Voland e Fisica della malinconia, Voland, 2014); Beloslava Dimitrova; Ivan Landzhev; Vladimir Levchev (il cui libro antologico di poesie Amore in piazza sarà pubblicato in Italia da Terra d’ulivi edizioni).

Emilia Mirazchiyska was born in 1972. She lives and works in her hometown Sofia, Bulgaria. She is the editor in-chef of Scalino publishing house which has in its catalogue two anthologies, compiled and edited by her: Materinità possibili (Italian edition – October 2011, Bulgarian edition – April 2011, coeditor Rayna Castoldi) and an anthology of short stories Saluti a Dickens, 2012. The latter has an English version too – Greetings to Dickens (15 Christmas Stories), edited by Emilia Mirazchiyska with English-language editor Allen Stevens and author of the introduction Filitsa Sofianou-Mullen; together with authors of eight nationalities: David Albahari (Kossovo, Canada), Iana Boukova (Bulgaria, Grееce), Soledad Cordero (Spain), Denitsa Dilova (Bulgaria), Sara Ferraglia (Italy), Ivan P. Hall (U.S.A.), Noémi Kiss (Hungary), Lyubov Kroneva (Bulgaria), Stoyan Nenov (Bulgaria), Dimitris Nolas (Greece), Gloriana Orlando (Italy), Alessandra Porcu (Italy), Milen Ruskov (Bulgaria), Zsuzsa Takács (Hungary) and Reynol Perez Vazquez (Mexico). She translates poetry from Bulgarian into Italian and from Italian into Bulgarian. Her professional aspirations in translating poetry broaden every month and scope other languages as well. Some of those are wrongly accepted as Italian dialects, even though they are virtual languages in which splendid poetry was written.

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