On a very original narrative system, Jaufre's novel is constructed through inter-textual references and relationships with many contemporary romance texts. The work presented here tries to highlight specific relationships that connect the novel with the P remiere Continuation Perceval and with the novel by Renaut de Beaujeu Le Bel Inconnu .
在一个非常新颖的叙事系统上，贾的小说是通过文本间的参照和与许多当代浪漫主义文本的关系来构建的。这里呈现的作品试图强调将小说与P remiere Continuation Perceval和Renaut de Beaujeu Le Bel Inconnu的小说联系起来的特定关系。
{"title":"‘Franc cavallier de bona fe’, v. 8466: su alcuni elementi intertestuali nel Jaufre","authors":"M. Lecco","doi":"10.7203/mclm.7.16558","DOIUrl":"https://doi.org/10.7203/mclm.7.16558","url":null,"abstract":"On a very original narrative system, Jaufre's novel is constructed through inter-textual references and relationships with many contemporary romance texts. The work presented here tries to highlight specific relationships that connect the novel with the P remiere Continuation Perceval and with the novel by Renaut de Beaujeu Le Bel Inconnu .","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49209170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the last part of the fifteenth and the first decades of the sixteenth centuries, the dissemination of Petrarch’s Trionfi – the so-called ‘second wave’ of Petrarchism – was characterized by the extraordinary editorial success, in Italy as well as in the rest of Western Europe, of Bernardo Ilicino’s Commento on the Trionfi. By promoting an erudite, encyclopedic, and moralizing reading of Petrarch’s poem, Ilicino’s commentary effectively became a lens through which generations of European readers approached the text. Nonetheless, the dissemination of the commentary proved not to be immune from the influence of sixteenth-century lyrical Petrarchism, which started developing almost at the same time but would not reach peak until few years later. A comparative study of the three known translations of Ilicino’s Commento in Catalan, French and Spanish – even more so, vis à vis the translation of the poem without the commentary – allows us to identify similarities among these translations, as well as important differences. Some of these differences reveal that while the commentary was still sought after by early sixteenth-century readers of Petrarch’s poem, the general approach towards the poem was already starting to shift in the direction of Petrarchism. The three European translations of Ilicino’s Commentary, when organized chronologically, help shed light on how much the reception of the Triumphs was influenced at the time by the parallel development of European Petrarchism, which promoted a more direct, literary approach towards the poem.
{"title":"The Triumphs’ Golden Age: a comparison between three European translations of Ilicino’s Commentary.","authors":"Leonardo Francalanci","doi":"10.7203/mclm.7.17565","DOIUrl":"https://doi.org/10.7203/mclm.7.17565","url":null,"abstract":"During the last part of the fifteenth and the first decades of the sixteenth centuries, the dissemination of Petrarch’s Trionfi – the so-called ‘second wave’ of Petrarchism – was characterized by the extraordinary editorial success, in Italy as well as in the rest of Western Europe, of Bernardo Ilicino’s Commento on the Trionfi. By promoting an erudite, encyclopedic, and moralizing reading of Petrarch’s poem, Ilicino’s commentary effectively became a lens through which generations of European readers approached the text. Nonetheless, the dissemination of the commentary proved not to be immune from the influence of sixteenth-century lyrical Petrarchism, which started developing almost at the same time but would not reach peak until few years later. A comparative study of the three known translations of Ilicino’s Commento in Catalan, French and Spanish – even more so, vis à vis the translation of the poem without the commentary – allows us to identify similarities among these translations, as well as important differences. Some of these differences reveal that while the commentary was still sought after by early sixteenth-century readers of Petrarch’s poem, the general approach towards the poem was already starting to shift in the direction of Petrarchism. The three European translations of Ilicino’s Commentary, when organized chronologically, help shed light on how much the reception of the Triumphs was influenced at the time by the parallel development of European Petrarchism, which promoted a more direct, literary approach towards the poem.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45029137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper studies the technique applied by Andreu Febrer in the verse translation of Dante’s Commedia , in which he preserved both the metre and the meaning. The adopted point of view diverges from the usual appraising approach to this translation, describing instead the varied techniques used by the translator. The examples analised show a skilled and creative poet able to preserve the formal constriction without sacrificing the semantic accuracy with respect to Dante’s text.
{"title":"Les estratègies de traducció d’Andreu Febrer en la seva versió de la Commedia de Dante","authors":"Raquel Parera","doi":"10.7203/mclm.7.17011","DOIUrl":"https://doi.org/10.7203/mclm.7.17011","url":null,"abstract":"This paper studies the technique applied by Andreu Febrer in the verse translation of Dante’s Commedia , in which he preserved both the metre and the meaning. The adopted point of view diverges from the usual appraising approach to this translation, describing instead the varied techniques used by the translator. The examples analised show a skilled and creative poet able to preserve the formal constriction without sacrificing the semantic accuracy with respect to Dante’s text.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41453312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An examination of the single manuscript of Anne de Graville’s Rondeau , a ‘translation’ of Alain Chartier’s La Belle dame sans mercy , as well as consideration of 1424 and Carl Wahlund’s 1897 critical edition reveals that Anne used several manuscripts and early printed editions in establishing the version of Chartier’s poem written in the margins of BN fr 2253. The base exemplar was most likely St. Petersburg, National Library of Russia MS fr. f° v. XIV. 0007, with variants found in BN fr 20026, BN fr 924, and the early printed editions.
{"title":"Anne de Graville Translates Alain Chartier: Identifying the Manuscript Source in the Margins of B.N. fr. 2235","authors":"J. E. McRae","doi":"10.7203/mclm.7.17010","DOIUrl":"https://doi.org/10.7203/mclm.7.17010","url":null,"abstract":"An examination of the single manuscript of Anne de Graville’s Rondeau , a ‘translation’ of Alain Chartier’s La Belle dame sans mercy , as well as consideration of 1424 and Carl Wahlund’s 1897 critical edition reveals that Anne used several manuscripts and early printed editions in establishing the version of Chartier’s poem written in the margins of BN fr 2253. The base exemplar was most likely St. Petersburg, National Library of Russia MS fr. f° v. XIV. 0007, with variants found in BN fr 20026, BN fr 924, and the early printed editions.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47932574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Brabantian poet Jan van der Noot (1539-95?) wrote in both Dutch and French, and composed several works in both languages. Sometimes the two versions were published separately: the Dutch collection Het Theatre and its French counterpart, Le Theatre , were each printed in London in 1568. More often, the versions appeared alongside each other in bilingual editions: Cort begryp der XII boeken Olympiados / Abrege des douze livres Olympiades (1579), Lofsang van Braband / Hymne de Braband (1580), and various short pieces reproduced in anthologies of Van der Noot’s poetry (1580-95). The present study contends that Van der Noot’s self-translations should be read as translations from Dutch to French, rather than from French to Dutch as scholars have commonly assumed. It examines Van der Noot’s self-translational strategies, focusing in particular on his handling of form and versification, and the role played by paratext and illustrations. In doing so, it offers an alternative perspective on a figure whose translational activity is generally considered to have operated in the opposite direction, introducing innovations into Dutch poetry by imitating the work of Ronsard and the Pleiade.
布拉班特诗人Jan van der Noot（1539-95？）用荷兰语和法语写作，并用这两种语言创作了几部作品。有时这两个版本是分开出版的：荷兰合集Het Theatre和法国合集Le Theatre分别于1568年在伦敦印刷。更常见的情况是，这些版本在双语版本中并排出现：Cort begryp der XII boeken Olympiados/Abrege des douze livres Olympiades（1579年）、Lofsang van Braband/Hymne de Braband（1580年），以及在van der Noot诗歌选集中复制的各种短篇作品（1580-95年）。本研究认为，范德诺特的自我翻译应该被解读为从荷兰语到法语的翻译，而不是学者们通常认为的从法语到荷兰语的翻译。它考察了范的自我翻译策略，特别关注他对形式和词序的处理，以及副文本和插图所扮演的角色。在这样做的过程中，它为一个人物提供了另一种视角，这个人物的翻译活动通常被认为是朝着相反的方向进行的，通过模仿朗萨德和昂宿星团的作品，将创新引入荷兰诗歌。
{"title":"Self-Translation in the Northern Renaissance: Jan van der Noot’s French Verse","authors":"A. Armstrong","doi":"10.7203/mclm.7.17177","DOIUrl":"https://doi.org/10.7203/mclm.7.17177","url":null,"abstract":"The Brabantian poet Jan van der Noot (1539-95?) wrote in both Dutch and French, and composed several works in both languages. Sometimes the two versions were published separately: the Dutch collection Het Theatre and its French counterpart, Le Theatre , were each printed in London in 1568. More often, the versions appeared alongside each other in bilingual editions: Cort begryp der XII boeken Olympiados / Abrege des douze livres Olympiades (1579), Lofsang van Braband / Hymne de Braband (1580), and various short pieces reproduced in anthologies of Van der Noot’s poetry (1580-95). The present study contends that Van der Noot’s self-translations should be read as translations from Dutch to French, rather than from French to Dutch as scholars have commonly assumed. It examines Van der Noot’s self-translational strategies, focusing in particular on his handling of form and versification, and the role played by paratext and illustrations. In doing so, it offers an alternative perspective on a figure whose translational activity is generally considered to have operated in the opposite direction, introducing innovations into Dutch poetry by imitating the work of Ronsard and the Pleiade.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44042800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The seven known witnesses to a hitherto unpublished medieval Catalan horticultural treatise, Memoria de les maneres de les llaurons , are compared and analyzed. A critical edition is presented, with introduction, notes, English translation and glossary. In an appendix, a synoptic edition provides transcriptions of all accessible witnesses to this text.
{"title":"A Medieval Catalan Horticultural Treatise, \"Memòria de les maneres de les llaurons\": Introduction, Critical Edition, Translation, Notes and Glossary","authors":"T. M. Capuano","doi":"10.7203/mclm.6.13913","DOIUrl":"https://doi.org/10.7203/mclm.6.13913","url":null,"abstract":"The seven known witnesses to a hitherto unpublished medieval Catalan horticultural treatise, Memoria de les maneres de les llaurons , are compared and analyzed. A critical edition is presented, with introduction, notes, English translation and glossary. In an appendix, a synoptic edition provides transcriptions of all accessible witnesses to this text.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45979423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A biographical approach to Bertomeu de Tresbens, a physician and astrologer who worked for King Pere el Cerimonios of Aragon and for his son infant Joan, later known as Joan I el Cacador . This biography is built on a thorough reseach based on all documentation on him found in archives –principally in the Archive of the Crown of Aragon–, as well as on the information contained in all his astrology works. We place Tresbens in his Occitan origin and in the economic, political and social contexts of the time when he had been documented in territories of the Crown of Aragon. Thus, the man behind the most important Catalan oeuvre on astrology is brought to light. We have studied particularly his career regarding his relationship with the monarchy and with the town of Cervera, whose local government planned to employ him as a physician. Finally, we present an original edition of all documentation found in archives regarding Tresbens used in this paper.
{"title":"Bartomeu de Tresbens, metge i astròleg de Pere el Cerimomiós: aproximació biogràfica i diplomatari","authors":"Carmel Ferragud, Sebastià Giralt","doi":"10.7203/mclm.6.13906","DOIUrl":"https://doi.org/10.7203/mclm.6.13906","url":null,"abstract":"A biographical approach to Bertomeu de Tresbens, a physician and astrologer who worked for King Pere el Cerimonios of Aragon and for his son infant Joan, later known as Joan I el Cacador . This biography is built on a thorough reseach based on all documentation on him found in archives –principally in the Archive of the Crown of Aragon–, as well as on the information contained in all his astrology works. We place Tresbens in his Occitan origin and in the economic, political and social contexts of the time when he had been documented in territories of the Crown of Aragon. Thus, the man behind the most important Catalan oeuvre on astrology is brought to light. We have studied particularly his career regarding his relationship with the monarchy and with the town of Cervera, whose local government planned to employ him as a physician. Finally, we present an original edition of all documentation found in archives regarding Tresbens used in this paper.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44857957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The material analysis of the witnesses of a literary work is part of the phase of recension in a process of textual criticism, which must go beyond the mere description of the content. It is necessary to pay attention to the information that these characteristics give about the contents, about the process of textual transmission, because these data will have ecdotic value. Thus, this work studies the materiality and compositorial errors of a Valencian poetical incunabulum, which is the first of a trilogy of printed works dedicated to the Immaculate Conception and sponsored by Ferran Dies.
{"title":"Materialitat i errors de composició d’un incunable poètic (b2/87FD): la rendibilitat ecdòtica","authors":"J. Martos","doi":"10.7203/mclm.6.15318","DOIUrl":"https://doi.org/10.7203/mclm.6.15318","url":null,"abstract":"The material analysis of the witnesses of a literary work is part of the phase of recension in a process of textual criticism, which must go beyond the mere description of the content. It is necessary to pay attention to the information that these characteristics give about the contents, about the process of textual transmission, because these data will have ecdotic value. Thus, this work studies the materiality and compositorial errors of a Valencian poetical incunabulum, which is the first of a trilogy of printed works dedicated to the Immaculate Conception and sponsored by Ferran Dies.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43600768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A review of several origin myths relating to the creation of medieval Occitan lyric poetry. We see a preference for a “great man theory” of origins, though the “great man” may be a fictional woman. Medieval and early Renaissance Occitan authors, including Uc de Saint Circ, Guilhem Molinier, and Jean de Nostredame, used differing origin myths to validate literature in a language that was perceived not to carry the prestige of twelfth- and thirteenth-century Latin or fifteen- and sixteenth-century French.
回顾与中世纪欧西坦抒情诗创作有关的几个起源神话。尽管“伟人”可能是一个虚构的女人，但我们看到人们更喜欢“伟人理论”的起源。中世纪和文艺复兴早期的欧西坦作家，包括圣西罗大学（Uc de Saint Circ）、吉尔赫姆·莫里尼尔（Guilhem Molinier）和让·德·诺斯特雷达姆（Jean de Nostredame），使用不同起源的神话来验证文学，这种语言被认为没有十二世纪和十三世纪拉丁语或十五世纪和十六世纪法语的声望。
{"title":"Foundations and Foundation Myths of the Troubadours","authors":"W. Pfeffer","doi":"10.7203/mclm.6.14815","DOIUrl":"https://doi.org/10.7203/mclm.6.14815","url":null,"abstract":"A review of several origin myths relating to the creation of medieval Occitan lyric poetry. We see a preference for a “great man theory” of origins, though the “great man” may be a fictional woman. Medieval and early Renaissance Occitan authors, including Uc de Saint Circ, Guilhem Molinier, and Jean de Nostredame, used differing origin myths to validate literature in a language that was perceived not to carry the prestige of twelfth- and thirteenth-century Latin or fifteen- and sixteenth-century French.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44758965","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Castilian novel Triste deleitacion , written in the late fifteenth century by an author from the Crown of Aragon, includes several letters and poems. One of these poems, “Sy be, Fortuna, as dat lo torn”, is written in Catalan. This article presents the poem’s annotated critical edition, which reports how it is indebted to the Catalan lyrical tradition. Written in an evolved form of the French lai cultivated by various Catalan poets, the poem is clearly influenced by Pere Torroella’s lai “Qui volra veure un pobre estat”, and linked to two other similar lais also dependent on Torroella’s. This edition is completed by a translation into modern Catalan.
卡斯蒂利亚小说《特里斯特的消失》写于15世纪晚期，作者是阿拉贡王室的一位作家，其中包括几封书信和诗歌。其中一首诗是用加泰罗尼亚语写的，“啊哈，福图纳，就像你被撕碎了一样”。这篇文章提出了这首诗的注释批评版，报告它是如何感谢加泰罗尼亚抒情传统。这首诗是由各种加泰罗尼亚诗人培养的法语lai演变而来的，显然受到了Pere Torroella的lai“Qui volra veure un pobre estat”的影响，并与其他两个类似的lai联系在一起，也依赖于Torroella的lai。这个版本是在翻译成现代加泰罗尼亚语后完成的。
{"title":"El lai “Si bé, Fortuna, has dat lo torn”: Edició crítica del poema en català de la novel·la \"Triste deleitación\"","authors":"Marta Marfany","doi":"10.7203/mclm.6.13944","DOIUrl":"https://doi.org/10.7203/mclm.6.13944","url":null,"abstract":"The Castilian novel Triste deleitacion , written in the late fifteenth century by an author from the Crown of Aragon, includes several letters and poems. One of these poems, “Sy be, Fortuna, as dat lo torn”, is written in Catalan. This article presents the poem’s annotated critical edition, which reports how it is indebted to the Catalan lyrical tradition. Written in an evolved form of the French lai cultivated by various Catalan poets, the poem is clearly influenced by Pere Torroella’s lai “Qui volra veure un pobre estat”, and linked to two other similar lais also dependent on Torroella’s. This edition is completed by a translation into modern Catalan.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43085049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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