In 1385 Ferrer Saiol, protonotary of Queen Eleanor of Sicily, translated into Catalan Palladius’s Opus Agriculturae (‘The Work on Farming’). This Latin work was widely known throughout the whole of the Middle Ages, and therefore a translation of Opus Agriculturae was wanted in the fourteenth-century's Kingdom of Aragon. A difficult aspect of Opus Agriculturae is its technical vocabulary. Being aware of it, Ferrer Saiol referred in his translation to his use of numerous reference books to undertake the best possible version. These medieval glossaries and vocabularies belong in his translation, explicitly as well as implicitly. We identify here books that Ferrer Saiol used for this version, like Papias’s Vocabularium , Johannes Balbus’s Catholicon , Simon of Genoa’s Clavis Sanationis and Ibn Wafid’s De Simplicibus Medicinis . These books are analysed here in order to understand its translating process. In addition, we aim to understand through medieval glossaries those passages whose scientific terms Saiol doesn’t correctly translate.
{"title":"El lèxic tècnic a la traducció catalana de l’Opus agriculturae de Pal·ladi: una aproximació als llibres de 'grammàtica' i 'medicina'","authors":"R. Torres","doi":"10.7203/MCLM.4.10065","DOIUrl":"https://doi.org/10.7203/MCLM.4.10065","url":null,"abstract":"In 1385 Ferrer Saiol, protonotary of Queen Eleanor of Sicily, translated into Catalan Palladius’s Opus Agriculturae (‘The Work on Farming’). This Latin work was widely known throughout the whole of the Middle Ages, and therefore a translation of Opus Agriculturae was wanted in the fourteenth-century's Kingdom of Aragon. A difficult aspect of Opus Agriculturae is its technical vocabulary. Being aware of it, Ferrer Saiol referred in his translation to his use of numerous reference books to undertake the best possible version. These medieval glossaries and vocabularies belong in his translation, explicitly as well as implicitly. We identify here books that Ferrer Saiol used for this version, like Papias’s Vocabularium , Johannes Balbus’s Catholicon , Simon of Genoa’s Clavis Sanationis and Ibn Wafid’s De Simplicibus Medicinis . These books are analysed here in order to understand its translating process. In addition, we aim to understand through medieval glossaries those passages whose scientific terms Saiol doesn’t correctly translate.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44668753","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 library of the Societat Castellonenca de Cultura (Castello de la Plana) keeps a Catalan manuscript on menescalia (veterinary medicine) virtually unknown to the specialists. Here we provide a diplomatic description, a presentation of its content, and particularly a first linguistic analysis. Our study allows us to locate its elaboration in the mid-14th century within the area of Morella, and to attribute it to a paraire or to a merchant. The manuscript is currently in the process of being edited.
文化协会（Castello de la Plana）的图书馆保存着一份加泰罗尼亚关于兽医学的手稿，专家们几乎不知道。在这里，我们提供了一个外交描述，对其内容的介绍，特别是第一次语言分析。我们的研究使我们能够将其在14世纪中期的发展定位在莫雷拉地区，并将其归因于一个帕拉伊尔或一个商人。这份手稿目前正在编辑中。
{"title":"El Llibre de menescalia de la Societat Castellonenca de Cultura","authors":"Lluís Gimeno Betí","doi":"10.7203/MCLM.4.10068","DOIUrl":"https://doi.org/10.7203/MCLM.4.10068","url":null,"abstract":"The library of the Societat Castellonenca de Cultura (Castello de la Plana) keeps a Catalan manuscript on menescalia (veterinary medicine) virtually unknown to the specialists. Here we provide a diplomatic description, a presentation of its content, and particularly a first linguistic analysis. Our study allows us to locate its elaboration in the mid-14th century within the area of Morella, and to attribute it to a paraire or to a merchant. The manuscript is currently in the process of being edited.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43845576","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}
S. Connell, Julia Flanders, N. Keller, Elizabeth Polcha, W. Quinn
In recent years, intensified attention in the humanities has been paid to data: to data modeling, data visualization, “big data”. The Women Writers Project has dedicated significant effort over the past thirty years to creating what Christoph Schoch calls “smart clean data”: a moderate-sized collection of early modern women’s writing, carefully transcribed and corrected, with detailed digital text encoding that has evolved in response to research and changing standards for text representation. But that data—whether considered as a publication through Women Writers Online, or as a proof of the viability of text encoding approaches like those expressed in the Text Encoding Initiative (TEI) Guideline s—is only the most visible part of a much larger ecology. That ecology includes complex human systems, evolving sets of tools, and a massive apparatus of documentation and organizational memory that have made it possible for the project to work coherently over such a long period of time. In this article we examine the WWP’s information systems in relation to the project’s larger scholarly goals, with the aim of showing where they may generalize to the needs of other projects.
{"title":"Learning from the Past: The Women Writers Project and Thirty Years of Humanities Text Encoding","authors":"S. Connell, Julia Flanders, N. Keller, Elizabeth Polcha, W. Quinn","doi":"10.7203/MCLM.4.10074","DOIUrl":"https://doi.org/10.7203/MCLM.4.10074","url":null,"abstract":"In recent years, intensified attention in the humanities has been paid to data: to data modeling, data visualization, “big data”. The Women Writers Project has dedicated significant effort over the past thirty years to creating what Christoph Schoch calls “smart clean data”: a moderate-sized collection of early modern women’s writing, carefully transcribed and corrected, with detailed digital text encoding that has evolved in response to research and changing standards for text representation. But that data—whether considered as a publication through Women Writers Online, or as a proof of the viability of text encoding approaches like those expressed in the Text Encoding Initiative (TEI) Guideline s—is only the most visible part of a much larger ecology. That ecology includes complex human systems, evolving sets of tools, and a massive apparatus of documentation and organizational memory that have made it possible for the project to work coherently over such a long period of time. In this article we examine the WWP’s information systems in relation to the project’s larger scholarly goals, with the aim of showing where they may generalize to the needs of other projects.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43883596","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}
Il contributo, che e un’anticipazione parziale dell’edizione critica integrale delle narrazioni mitologiche di Joan Rois de Corella (XV sec.) per Barcino (ENC), nasce dall’esigenza di rivedere la situazione testuale della faula in oggetto ( Lamentacio de Mirra, de Narciso, de Piramus i Tisbe ) e di avanzare, dove necessario, nuove proposte di lettura. Esso consta di due parti, delle quali la prima contiene l’Introduzione, la seconda il Testo con note a pie di pagina, in cui si discutono questioni relative alla constitutio textus , l’Apparato e l’Apparato complementare. Nell’Introduzione si danno informazioni essenziali circa la tradizione manoscritta delle Lamentacions (altrimenti note come Lo jardi de amor ) e le edizioni di cui sono state oggetto fino ad oggi; quindi si illustra in breve lo stato degli studi (pochi articoli) dedicati ad esse. Seguono riflessioni sulla coerenza diegetica e semantica del testo; sostanzialmente, ci si chiede perche l’autore combini i tre miti e come li amalgami, e quale sia il ruolo svolto da ciascuna delle tre figure esemplari; quindi, si mettono a fuoco i tratti di autonomia dell’opera rispetto alla formulazione ovidiana (o neo ovidiana) delle tre storie.
部分贡献,对批评mitologiche叙述完整版(Joan Rois de Corella十五秒。)Barcino (env)产生,需要审查的主题(Lamentacio de myrhh faula文本的情况,那喀索斯,de Piramus Tisbe)提出,并在认为必要时阅读的新建议。它由两部分组成，第一部分载有导言，第二部分载有脚注，讨论与《条约》、《文书》和《补充文书》有关的问题。引言提供了关于哀歌的手写传统(又称“jardi de amor”)和迄今为止的版本的基本资料;然后简要介绍了关于这些问题的研究的现状(很少有文章)。以下是对文本的语义和语义一致性的思考。从本质上说，问题是为什么作者将这三个神话结合在一起，以及它们是如何结合在一起的，以及这三个例子中的每一个都扮演了什么角色。因此，这三个故事的独特性与奥维德(或新奥维德)的措辞相冲突。
{"title":"Joan Roís de Corella, Lamentació de Mirra, de Narciso, de Píramus i Tisbe: edizione critica","authors":"Annamaria Annicchiarico","doi":"10.7203/MCLM.3.8132","DOIUrl":"https://doi.org/10.7203/MCLM.3.8132","url":null,"abstract":"Il contributo, che e un’anticipazione parziale dell’edizione critica integrale delle narrazioni mitologiche di Joan Rois de Corella (XV sec.) per Barcino (ENC), nasce dall’esigenza di rivedere la situazione testuale della faula in oggetto ( Lamentacio de Mirra, de Narciso, de Piramus i Tisbe ) e di avanzare, dove necessario, nuove proposte di lettura. Esso consta di due parti, delle quali la prima contiene l’Introduzione, la seconda il Testo con note a pie di pagina, in cui si discutono questioni relative alla constitutio textus , l’Apparato e l’Apparato complementare. Nell’Introduzione si danno informazioni essenziali circa la tradizione manoscritta delle Lamentacions (altrimenti note come Lo jardi de amor ) e le edizioni di cui sono state oggetto fino ad oggi; quindi si illustra in breve lo stato degli studi (pochi articoli) dedicati ad esse. Seguono riflessioni sulla coerenza diegetica e semantica del testo; sostanzialmente, ci si chiede perche l’autore combini i tre miti e come li amalgami, e quale sia il ruolo svolto da ciascuna delle tre figure esemplari; quindi, si mettono a fuoco i tratti di autonomia dell’opera rispetto alla formulazione ovidiana (o neo ovidiana) delle tre storie.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304817","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 article discusses the relation established between texts and graphic representations in works of Ramon Llull, paying special attention to a rhetorical device called ekphrasis, that is, the verbal description of a visual object. It analyses descriptions of Lullian figures, and especially of arborial diagrams, in the presence of their representation (referential ekphrasis) or in the absence of same (notional ekphrasis). We conclude that the material aspect of the figures as well as the mental assimilation of their funcion are key elements in the process of cognitive elevation proposed by Llull.
{"title":"Representació gràfica i ècfrasi en l’obra de Ramon Llull","authors":"A. Bonner, Albert Soler","doi":"10.7203/MCLM.3.8062","DOIUrl":"https://doi.org/10.7203/MCLM.3.8062","url":null,"abstract":"This article discusses the relation established between texts and graphic representations in works of Ramon Llull, paying special attention to a rhetorical device called ekphrasis, that is, the verbal description of a visual object. It analyses descriptions of Lullian figures, and especially of arborial diagrams, in the presence of their representation (referential ekphrasis) or in the absence of same (notional ekphrasis). We conclude that the material aspect of the figures as well as the mental assimilation of their funcion are key elements in the process of cognitive elevation proposed by Llull.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304792","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 controversial topic of the origin of Castile in three epigraphic inscriptions from Lara de los Infantes,from a perspective both philological and historical. The making of the oldest inscription, found in the hermitage of SanJulian (and preserved at the Museum of Burgos since the early 20th century) must date back to the mid-12th century.It was written with the monastery of San Pedro de Arlanza (Burgos) in mind, since it highlights the preeminence of the former because of its links to count Fernan Gonzalez. It was also possibly based on a local tradition from Lara now lost to us and of spurious provenance. In the humanistic period, prior to 1600, a copy of this inscription was made, to which a new one was added, from an unknown source; and both were placed in the western gable of Lara’s parish church in the event of a structural alteration to enlarge the temple, thus counteracting the aims of the monasteries of San Millan (La Rioja), Santo Domingo de Silos (Burgos) and the neighbouring town of Salas de los Infantes to appropriate the memory of Fernan Gonzalez and the seven Infantes. The parish inscriptions, then, are also of use to outline a proposal of periods in the structural evolution of this Romanesque church.
{"title":"Dos inscripciones sobre la fundación de Lara y una sobre sus siete infantes, con un análisis evolutivo de su iglesia parroquial","authors":"José Ángel Esteras, J. Lorenzo, Alberto Montaner","doi":"10.7203/MCLM.3.8254","DOIUrl":"https://doi.org/10.7203/MCLM.3.8254","url":null,"abstract":"This paper studies the controversial topic of the origin of Castile in three epigraphic inscriptions from Lara de los Infantes,from a perspective both philological and historical. The making of the oldest inscription, found in the hermitage of SanJulian (and preserved at the Museum of Burgos since the early 20th century) must date back to the mid-12th century.It was written with the monastery of San Pedro de Arlanza (Burgos) in mind, since it highlights the preeminence of the former because of its links to count Fernan Gonzalez. It was also possibly based on a local tradition from Lara now lost to us and of spurious provenance. In the humanistic period, prior to 1600, a copy of this inscription was made, to which a new one was added, from an unknown source; and both were placed in the western gable of Lara’s parish church in the event of a structural alteration to enlarge the temple, thus counteracting the aims of the monasteries of San Millan (La Rioja), Santo Domingo de Silos (Burgos) and the neighbouring town of Salas de los Infantes to appropriate the memory of Fernan Gonzalez and the seven Infantes. The parish inscriptions, then, are also of use to outline a proposal of periods in the structural evolution of this Romanesque church.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304859","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 story of Rodrigo Diaz de Vivar y Mendoza, Marquis of Zenete, Cardinal Mendoza’s eldest son, and his second wife Maria de Fonseca would furnish a writer with ample material for an exciting novel and certainly deserves to be better known, especially in the Anglophone world. Among other things, this article sheds some light on the vulnerable status of women in late medieval and Renaissance Spain at a time when noble ladies had greater educational opportunities, and casts doubt on the alleged role played by Queen Isabel in championing the freedom and the rights of women; and it discusses how the Marquis of Zenete expressed his personality through jousting invenciones and inscriptions in Latin on the walls of his palace of La Calahorra, and introduced many features of Italian art and architecture into Spain almost in defiance of the status quo. The author explains why the Marquis wrote the words NULA SECUNDA on a harp that he gave as a present to Prince Juan. The possible significance of a quotation by Ovid formerly in the Salon de los Marqueses in the Palace of La Calahorra is discussed, and attention drawn to the appearance of the Fonseca sisters in the anonymous Carajicomedia .
{"title":"María de Fonseca (c. 1486-1521) and the Marquis of Zenete (1473-1523): Aristocratic Rebels and Patrons of Renaissance Culture","authors":"Roger Boase","doi":"10.7203/MCLM.3.6856","DOIUrl":"https://doi.org/10.7203/MCLM.3.6856","url":null,"abstract":"The story of Rodrigo Diaz de Vivar y Mendoza, Marquis of Zenete, Cardinal Mendoza’s eldest son, and his second wife Maria de Fonseca would furnish a writer with ample material for an exciting novel and certainly deserves to be better known, especially in the Anglophone world. Among other things, this article sheds some light on the vulnerable status of women in late medieval and Renaissance Spain at a time when noble ladies had greater educational opportunities, and casts doubt on the alleged role played by Queen Isabel in championing the freedom and the rights of women; and it discusses how the Marquis of Zenete expressed his personality through jousting invenciones and inscriptions in Latin on the walls of his palace of La Calahorra, and introduced many features of Italian art and architecture into Spain almost in defiance of the status quo. The author explains why the Marquis wrote the words NULA SECUNDA on a harp that he gave as a present to Prince Juan. The possible significance of a quotation by Ovid formerly in the Salon de los Marqueses in the Palace of La Calahorra is discussed, and attention drawn to the appearance of the Fonseca sisters in the anonymous Carajicomedia .","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304737","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 article analyzes in a historical context the earliest evidences of Dante’s influence on Catalan culture during the reigns of Kings Peter IV, John I and Martin of Aragon, until the interregnum (1410-12) and the change of dynasty resulting from the Compromise of Caspe (1412). French courts, Avignon papal curia and the close personal, political and dynastic ties between the kingdoms of Sicily and Aragon constitute the background on which this paper studies the many echoes of Dante —from the Commedia, from the commentaries on Dante and from the so-called silloge boccaccesca — to be found around the chancellery and the court of Aragon: specifically, in Bernat Metge’s Llibre de Fortuna e Prudencia (1381) and Lo somni (c. 1398); in Andreu Febrer’s, Gilabert de Proixida’s and Melcior de Gualbes’ poetry; in one letter from Martin of Aragon (1408), and in Felip de Malla’s early predication (1411, 1413).
{"title":"Dante en la cultura catalana a l’entorn del Casal de Barcelona (1381-1410/12)","authors":"Francesc J. Gómez","doi":"10.7203/MCLM.3.8433","DOIUrl":"https://doi.org/10.7203/MCLM.3.8433","url":null,"abstract":"This article analyzes in a historical context the earliest evidences of Dante’s influence on Catalan culture during the reigns of Kings Peter IV, John I and Martin of Aragon, until the interregnum (1410-12) and the change of dynasty resulting from the Compromise of Caspe (1412). French courts, Avignon papal curia and the close personal, political and dynastic ties between the kingdoms of Sicily and Aragon constitute the background on which this paper studies the many echoes of Dante —from the Commedia, from the commentaries on Dante and from the so-called silloge boccaccesca — to be found around the chancellery and the court of Aragon: specifically, in Bernat Metge’s Llibre de Fortuna e Prudencia (1381) and Lo somni (c. 1398); in Andreu Febrer’s, Gilabert de Proixida’s and Melcior de Gualbes’ poetry; in one letter from Martin of Aragon (1408), and in Felip de Malla’s early predication (1411, 1413).","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304929","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 present article focuses on ff. cxlr-cviiir of the manuscript Miscel?lania 26, Arxiu de la Corona d’Arago, Barcelona, which contain the only extant version of the fifteenth-century Catalan translation of the French Danse macabre. The article contains a philological study of this section of the manuscript, with particular attention to the relationship between the Catalan version of the Danse macabre and its French sources: this study serves as an introduction to a new critical edition of the Catalan translation proposed in the second part of the article. The critical text consists of a parallel edition of the Catalan version and manuscript lat. 14904, Bibliotheque nationale de France, Paris (MS BnF lat. 14904), which proves to be the witness of the French poem closest to the lost exemplar used by the Catalan translator. Both editions aim at finding a balance between readability and a conservative approach which preserves the historical character of the manuscripts. The critical text is preceded by editorial criteria and accompanied by a literal translation into modern English and editorial notes.
本文的重点是ff。手稿Miscel?位于巴塞罗那Arxiu de la Corona d 'Arago的lania 26号，那里保存着法国死亡之舞(Danse macabre) 15世纪加泰罗尼亚语译本的唯一现存版本。这篇文章包含了对这部分手稿的语言学研究，特别关注加泰罗尼亚语版本的《死亡之舞》与其法语来源之间的关系:这项研究作为文章第二部分提出的加泰罗尼亚语翻译的新批评版本的介绍。关键文本由加泰罗尼亚语版本和手稿的平行版本组成。14904，法国国家图书馆，巴黎(MS BnF flat)。14904)，这被证明是最接近加泰罗尼亚语译者使用的丢失范例的法国诗的见证。两个版本的目的是在可读性和保守的方法之间找到一个平衡，保留手稿的历史特征。关键文本之前的编辑标准，并伴随着直译成现代英语和编辑笔记。
{"title":"The fifteenth-century Catalan translation of the French \"Danse macabre\": A critical edition and English translation, from manuscript Miscel·lània 26, Arxiu de la Corona d’Aragó, Barcelona","authors":"Alina Zvonareva","doi":"10.7203/MCLM.2.3902","DOIUrl":"https://doi.org/10.7203/MCLM.2.3902","url":null,"abstract":"The present article focuses on ff. cxlr-cviiir of the manuscript Miscel?lania 26, Arxiu de la Corona d’Arago, Barcelona, which contain the only extant version of the fifteenth-century Catalan translation of the French Danse macabre. The article contains a philological study of this section of the manuscript, with particular attention to the relationship between the Catalan version of the Danse macabre and its French sources: this study serves as an introduction to a new critical edition of the Catalan translation proposed in the second part of the article. The critical text consists of a parallel edition of the Catalan version and manuscript lat. 14904, Bibliotheque nationale de France, Paris (MS BnF lat. 14904), which proves to be the witness of the French poem closest to the lost exemplar used by the Catalan translator. Both editions aim at finding a balance between readability and a conservative approach which preserves the historical character of the manuscripts. The critical text is preceded by editorial criteria and accompanied by a literal translation into modern English and editorial notes.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7203/MCLM.2.3902","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304575","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}
El presente articulo presenta por primera vez el listado catalogado de ejemplos de Ramon Llull compilados a partir del analisis detallado de sus principales obras literarias, con su correspondiente tema y su ubicacion en el texto, para un total de mas de 3000 exempla .
{"title":"Catálogo de ejemplos lulianos","authors":"Xavier Bonillo","doi":"10.7203/MCLM.2.4045","DOIUrl":"https://doi.org/10.7203/MCLM.2.4045","url":null,"abstract":"El presente articulo presenta por primera vez el listado catalogado de ejemplos de Ramon Llull compilados a partir del analisis detallado de sus principales obras literarias, con su correspondiente tema y su ubicacion en el texto, para un total de mas de 3000 exempla .","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7203/MCLM.2.4045","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304613","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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