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Journal articles on the topic 'Translating into Gothic'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Ratkus, Artūras. "THE GREEK SOURCESOF THE GOTHIC BIBLE TRANSLATION." Vertimo studijos 2, no. 2 (2017): 37. http://dx.doi.org/10.15388/vertstud.2009.2.10602.

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Almost all of what we know about the structure and properties of Gothic comes from the Gothic translation of the New Testament from Greek. No analysis of Gothic syntax is therefore feasible without reference to the Greek original. This is problematic, however, as the autograph that was used in translating the Bible into Gothic does not exist, and the choice of the Greek edition of the New Testament for comparative study is a matter of debate. The article argues that, in spite of the general structural affinity of the Gothic text to the Greek, the numerous observed deviations from the Greek rep

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2

Kaloh Vid, Natalia, and Agnes Kojc. "The Challenges of Translating Metaphors in Slovene Retranslation of Edgar Allan Poe's Short Stories." Acta Neophilologica 58, no. 1 (2025): 37–51. https://doi.org/10.4312/an.58.1.37-51.

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The article focuses on translations of metaphors, a unique aesthetic and poetic figure that requires special attention and accurate rendering in a literary translation. When translating metaphors, the translator should understand and preserve the meaning and the aesthetic component of the metaphors. The study discusses the rendering of metaphors in translations and re-translations of three short stories by Edgar Allan Poe: “The Gold Bug,” translated by Boris Rihteršič in 1935, and Jože Udovič in 1960; “The Pit and the Pendulum,” translated by Rihteršič in 1935 and by Udovič in 1972, and “The F

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Makarova, Olesya S., and Artyom S. Goncharov. "RUSSIAN-SOVIET EXPERIENCE OF TRANSLATING THE POEM “ANNABELLE LEE” BY EDGAR ALLAN POE." Lomonosov Translation Studies Journal, no. 1, 2023 (July 11, 2023): 53–79. http://dx.doi.org/10.55959/msu2074-6636-22-2023-16-1-53-79.

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This article is devoted to the study of the tradition of translating the romantic poetry of Edgar Allan Poe into Russian. The work of Edgar Allan Poe is distinguished by the grace of the Gothic landscape, a skillful combination of the mystical and romantic aspects of the inner experiences of the individual, the acute struggle of the lofty ideal with social reality. “Madness as art” is a distinctive feature of the search for love of Poe’s lyrical heroes, a feature of their perception of the world. The poetry of the author conveys his inner experiences, which, as a rule, are the personal motives

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Misiou, Vasiliki. "Speaking into “Archival Silence”: Translating Trauma and Abuse Nestled within the Dream House." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 78, no. 1 (2025): 1–22. https://doi.org/10.5007/2175-8026.2025.e102830.

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Carmen Maria Machado’s In the Dream House (2019) is a lyric memoir through which she goes beyond the usual representations of space and place in women’s writing, refashioning their narratives. By offering a queer geocritical perspective and creating a distinctive space of storytelling, Machado explores abuse between queer women. Drawing on horror and gothic tropes and style, she narrates her personal experience of queer domestic violence, inviting readers to navigate a story that is rarely told, let alone published. In this context, this paper aims to examine the ways Machado employs space, pl

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LAWRENSON, SONJA. "Oral Textuality, Gender and the Gothic in Doireann Ní Ghríofa’s A Ghost in the Throat (2020)." Estudios Irlandeses, no. 18.2 (December 18, 2023): 28–42. http://dx.doi.org/10.24162/ei2023-12043.

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In Doireann Ní Ghríofa’s A Ghost in the Throat, the first-person narrator details her scholarly endeavour to translate into English Caoineadh Airt Uí Laoghaire – the Irish-language lament of the eighteenth-century Kerry woman, Eibhlín Dubh Ní Chonaill, on the death of her husband, Art Ó Laoghaire. Interwoven with this narrative, is the narrator’s intimate account of her lived personal experience whilst researching and translating this caoineadh. And yet, even as her search for the Caoineadh’s origins grows increasingly fervent, the narrator becomes ever more wary of the viability and implicati

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TAJI, Takahiro. "MORITA KEIICHI'S INTENTION OF TRANSLATING 'ARCHITECTURAL THOUGHT OF GOTHIC' BY WORRINGER AND ITS IDEOLOGICAL BACKGROUND." Journal of Architecture and Planning (Transactions of AIJ) 80, no. 707 (2015): 203–12. http://dx.doi.org/10.3130/aija.80.203.

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7

Hăisan. "OLD W(H)INE IN NEW BOTTLES: FROM GOTH GIRL'S INTERTEXTUAL FLAVOURS TO TRANSLATING CULTURAL OMNIVOROUSNESS." Messages, Sages and Ages 8, no. 2 (2021): 7–17. https://doi.org/10.5281/zenodo.5739402.

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Chris Riddell’s <em>Goth Girl</em> five-book series (2013-2017) offers young readers a simple, yet gripping family saga, brilliantly penned in a rather sophisticated literary style and copiously illustrated by the author himself. The first three books in the series (<em>Goth Girl and the Ghost of a Mouse</em>, <em>Goth Girl and the Fete Worse than Death</em>, and <em>Goth Girl and the Wuthering Fright</em>) have been translated into Romanian (2017-2018) by Mihaela Doagă (Corint Junior Publishing House). Of the manifold challenges posed by Riddell’s novels, the present paper will fo

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Chekalina, Elena. "THE CURRENT PROBLEMS OF GERMANIC PHILOLOGY IN THE 21st CENTURY (A Panel Discussion Commemorating the 100th Birth Anniversary of Irina Alexandrovna Yershova)." Lomonosov Journal of Philology 47, no. 6, 2024 (2024): 150–58. https://doi.org/10.55959/msu0130-0075-9-2024-47-06-10.

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: The publication contains a survey of the reports presented at the panel held in commemoration of the 100th birth anniversary of the well known Germanist I.A. Yershova, who taught at the Department of Germanic Philology since 1951. Among the panel were professors, teachers and postgraduate students of the Department of Germanic and Celtic Philology, as well as scholars from the Donetsk State University (L.N. Yagupova), the Samara National Research University (S.I. Dubinin) and the Institute of Linguistics of the Russian Academy of Sciences (N.S. Babenko, A.Y. Mankov). The memorial part was de

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9

Lane, Véronique. "From Retranslation to Back-Translation: A Bermanian Reading of The Monk by Matthew Gregory Lewis, Antonin Artaud, and John Phillips." Translation and Literature 29, no. 3 (2020): 391–410. http://dx.doi.org/10.3366/tal.2020.0438.

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In his work on retranslation, Antoine Berman is probably the theorist who came closest to reflecting on back-translation. This article offers interpretations of two of his premises in ‘La retraduction comme espace de traduction’: that all translations are impaired by forces of non-translation and that this phenomenon is attenuated by retranslation. It is partly to investigate these hypotheses that Berman developed the concept of ‘défaillance’. The article traces the evolution of Berman's notion before demonstrating how the study of ‘défaillances’ across translative layers can be enlightening,

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Quak, Arend. "Die Psalmen in gotischer Sprache." Amsterdamer Beiträge zur älteren Germanistik 80, no. 1-2 (2020): 25–65. http://dx.doi.org/10.1163/18756719-12340173.

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Abstract Although the text of the psalms did not survive in Wulfila’s Gothic bible translation, some verses are cited in the bible fragments and in other Gothic texts. Here these quotes are compared with surviving West-Germanic translations of the same passages to view the differences and the similarities between them.

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Mills, Kirstin A. "Haunted by ‘Lenore’: The Fragment as Gothic Form, Creative Practice and Textual Evolution." Gothic Studies 23, no. 2 (2021): 132–47. http://dx.doi.org/10.3366/gothic.2021.0090.

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This article examines the processes of fragmentation and haunting surrounding the explosion of competing translations, in 1796, of Gottfried August Bürger's German ballad ‘Lenore’. While the fragment has become known as a core narrative device of the Gothic, less attention has been paid to the ways that the fragment and fragmentation operate as dynamic, living phenomena within the Gothic's central processes of memory, inspiration, creation, dissemination and evolution. Taking ‘Lenore’ as a case study, this essay aims to redress this critical gap by illuminating the ways that fragmentation haun

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NOVITSKAYA, A. V., L. S. KASYANENKO, and O. S. MAKAROVA. "THE TRANSLATION OF S. KING’S “DARK TOWER” NOVEL SERIES AND R. BROWNING’S POEM “CHILDE ROLAND TO THE DARK TOWER CAME”: A COMPARATIVE ASPECT." Lomonosov Translation Studies Journal, no. 1, 2024 (June 25, 2024): 52–80. http://dx.doi.org/10.55959/msu2074-6636-22-2024-17-1-52-80.

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This article analyzes the formation of the diversity of the genre of the series of novels “The Dark Tower” by Stephen King, as well as the clips of Robert Browning’s poem in the predominant image of the Tower of Roland and the connection with these genre transformations. In the course of the study, the authors analyze the series of novels “The Dark Tower” and the poem “Childe Roland to the Dark Tower Came”, in particular, the features of the genres, the compositional and stylistic features inherent in these works. When demonstrating the characteristic features of R. Browning’s and S. King’s cr

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Ratkus, Artūras. "Greek ἀρχιερεύς in Gothic translation". NOWELE / North-Western European Language Evolution 71, № 1 (2018): 3–34. http://dx.doi.org/10.1075/nowele.00002.rat.

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Abstract One of the most remarkable examples of variation in the Gothic Bible is the translation of the Greek compound ἀρχιερεύς ‘chief priest’, accorded as many as seven different Gothic renderings. By examining the distribution of the Gothic examples and the contexts in which they occur, this paper challenges the traditional assumptions on the variation and argues that the variants are due to the exegetical and creative inputs of the translator. It is improbable that the variation was brought about under the influence of pre-Vulgate Latin and unlikely that the different renderings were intro

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Aguirre, Manuel. "‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction." Studia Anglica Posnaniensia 49, no. 2 (2015): 105–23. http://dx.doi.org/10.2478/stap-2014-0010.

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Abstract This article is part of a body of research into the conventions which govern the composition of Gothic texts. Gothic fiction resorts to formulas or formula-like constructions, but whereas in writers such as Ann Radcliffe this practice is apt to be masked by stylistic devices, it enjoys a more naked display in the–in our modern eyes–less ‘canonical’ Gothics, and it is in these that we may profitably begin an analysis. The novel selected was Peter Teuthold’s The Necromancer (1794)–a very free translation of K. F. Kahlert’s Der Geisterbanner (1792) and one of the seven Gothic novels ment

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Gudmanian, Artur G., and Andriana O. Ivanova. "RENDERING LINGUISTIC REPRESENTATION OF DEATH IMAGE IN CLASSICAL HORROR FICTION." Alfred Nobel University Journal of Philology 1, no. 29 (2025): 362–73. https://doi.org/10.32342/3041-217x-2025-1-29-21.

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The article sheds light upon the problem of rendering English horror literature genre peculiarities into Ukrainian within the scope of translation studies not only in Europe but all over the world. The investigated genre has been marginal towards the other literature genres as it has been considered the one to have no aesthetic effect on the reader. Horror literature as an object of translational studies has been declared only during the last decades. Most of the studies are aimed at exploring horror literature relevantly by studying its roots, especially the gothic novel. The issue of reprodu

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Mazur, Adam. "Zadanie fotografa. Problemtyka Reprodukcji dzieła sztuki na przykładzie dwóch książek fotograficz`nych Eustachego Kossakowskiego August Zamoyski oraz Lumières de Chartres." Artium Quaestiones, no. 33 (December 30, 2022): 107–34. http://dx.doi.org/10.14746/aq.2022.33.5.

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Using the example of two books by Eustachy Kossakowski (1925–2001) – August Zamoyski (1974) and Lumières de Chartres (1989) – the text addresses the issue of reproducing works of art in the form of a photo album (photobook). The work of the photographer who makes reproductions of works of art is compared to the task of the translator, a reference to Walter Benjamin’s essay. The text is divided into two parts corresponding to albums. A detailed analysis allows us to see the differences between the books, as well as the change in Kossakowski’s approach to reproduced works of art. The first album

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17

Verri, Giovanni, and Matteo Tarsi. "Two Short Essays by Árni Magnússon on the Origins of the Icelandic Language." Historiographia Linguistica 45, no. 1-2 (2018): 71–98. http://dx.doi.org/10.1075/hl.00016.tar.

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Summary This article presents two essays by the renowned Icelandic manuscript collector Árni Magnússon (1663‒1730): De gothicæ lingvæ nomine [On the expression ‘the Gothic language’] and Annotationes aliqvot de lingvis et migrationibus gentium septentrionalium [Some notes on the languages and migrations of the northern peoples]. The two essays are here edited and published in their original language, Latin. Moreover, an English translation is also presented for ease of access. After a short introduction (§ 1), a historical overview of the academic strife between Denmark and Sweden is given (§

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18

Van Hoof, Henri. "Traduction biblique et genèse linguistique." Babel. Revue internationale de la traduction / International Journal of Translation 36, no. 1 (1990): 38–43. http://dx.doi.org/10.1075/babel.36.1.05van.

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The article describes a number of situations where Bible translation resulted in the birth of new or the expansion of existing languages. Examples of the first category are the Gothic, Armenian and Russian languages, for which even specific alphabets had to be invented. To illustrate the second category reference is made to English and German, which, although they had already emerged as vulgar competitors of Latin as early as the XlVth century, were given a boost by the many Bible translations generated by the Reformation. Both in England and in Germany these translations helped to unify and s

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Ratkus, Artūras. "The Stylistic Uses of Gothic Passive Constructions." Vertimo studijos 12 (December 20, 2019): 116–37. http://dx.doi.org/10.15388/vertstud.2019.8.

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This paper explores the variation between non-past (present and future) synthetic and periphrastic passive verb forms in the Gothic Gospels in an effort to evaluate the possibility that the availability of functionally identical forms of the passive was exploited by the translators of the Gothic Bible as a way of manipulating the stylistic composition of the Gothic text. Based on the evidence of the Gothic translation of the Gospels, although the Gothic synthetic passive constructions do mostly occur in stylistically special environments, the existence of other clearly verifiable competing mot

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Ayerbe Linares, Miguel. "Diferencias en la traducción de términos griegos del campo léxico ‘mujer’ en la Biblia gótica de Úlfilas1." Futhark. Revista de Investigación y Cultura, no. 8 (2013): 9–30. http://dx.doi.org/10.12795/futhark.2013.i08.01.

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In any language, we expect a given term or expression to be used when referring to the same thing. Something similar is to be expected of a translation. However, in certain translations of religious texts featuring the Virgin Mary, this does not seem to apply. Apparently, the choice of words used for the lexical field of “woman” varies when it is referring to the Virgin Mary. This difference of usage is shown by the fact that in this type of texts, there are certain terms related to the lexical field of “woman” that are never used with reference to the Virgin Mary, whereas some others are used

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Giffin, Ryan Kristopher. "The Text of Philippians 3.12 in the Gothic Translation: Paul Not Already Deemed Righteous?" Bible Translator 72, no. 3 (2021): 364–79. http://dx.doi.org/10.1177/20516770211029997.

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The Gothic translation of Paul’s Letter to the Philippians contains a reading in which Paul claims he is not already deemed righteous (ni . . . ju garaihts gadomiþs sijau, Phil 3.12). In light of this, the Gothic version has been included as a textual witness to the so-called justification clause, a variant reading scholars have labeled “intriguing,” “very interesting,” “striking,” and “astounding.” However, no scholarly attention has been devoted specifically to the Gothic version of the justification clause of Phil 3.12. This article fills that gap. The author gives attention to this text as

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Pavlenko, Olena. "A Glimpse into Literary Translation through Interpeter’s Critical Reflection." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 14, no. 25 (2021): 69–78. http://dx.doi.org/10.34079/2226-3055-2021-14-25-69-78.

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The article aims to analyze general insights and main trends increasingly related to literary translation studies focusing on translator’s critical reflection and peer-evaluation of a literary text (based on the gothic novel “Beyond the Abyss”) as well as reveals a clear sense of directions to build up key components of translator’s individual style and language policy.

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Lawrenson, Sonja, and Matt Foley. "Introduction: Melmoth's Global Afterlives." Gothic Studies 26, no. 2 (2024): 105–14. http://dx.doi.org/10.3366/gothic.2024.0191.

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In this introduction to the special issue, the editors read Charles Maturin's Melmoth the Wanderer (1820) and its circuitous afterlives through the lens of recent, revised critical understandings of globalgothic. Driven by its striking depiction of evil, its eccentric narrative structure, and its atmospheric intensity, Melmoth the Wanderer's cultural impact reverberated across nineteenth- and twentieth-century literatures and visual media, an influence which continues to evolve to this day. Significantly, for a text preoccupied with the problematics of translation, transcription, and translite

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Mustafa, Jamil. "Penny Dreadful’s Queer Orientalism: The Translations of Ferdinand Lyle." Humanities 9, no. 3 (2020): 108. http://dx.doi.org/10.3390/h9030108.

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Cultural expressions of Orientalism, the Gothic, and the queer are rarely studied together, though they share uncanny features including spectrality, doubling, and the return of the repressed. An ideal means of investigating these common aspects is neo-Victorian translation, which is likewise uncanny. The neo-Victorian Gothic cable television series Penny Dreadful, set mostly in fin-de-siècle London, employs the character Ferdinand Lyle, a closeted queer Egyptologist and linguist, to depict translation as both interpretation and transformation, thereby simultaneously replicating and challengin

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Winsnes, Selena Axelrod. "P. E. Isert in German, French, and English: A Comparison of Translations." History in Africa 19 (1992): 401–10. http://dx.doi.org/10.2307/3172009.

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Paul Erdmann Isert's Reise nach Guinea und den Caribäischen Inseln in Columbien (Copenhagen 1788) seems to have enjoyed a lively reception, considering the number of translations, both complete and abridged, which appeared shortly after the original. Written in German, in Gothic script, it was quickly ‘lifted over’ into the Roman alphabet in the translations (into Scandinavian languages, Dutch, and French), thus making it available to an even greater public than a purely German-reading one. In the course of my research for the first English translation, I have found that the greatest number of

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Gassman, Mattias P., and Brendan Wolfe. "‘A Thing Like God’: Re-Reading Gothic Philippians 2.6–8." New Testament Studies 70, no. 4 (2024): 531–45. https://doi.org/10.1017/s0028688524000353.

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AbstractThe Gothic translation of Phil 2.6–8 differs from the Greek in three ways: it says that Christ did not think it robbery to be ‘like God’; it breaks the parallelism between the ‘form of God’ and ‘form of a slave’; and it states explicitly that Christ was obedient ‘to the Father’. Scholars have focused exclusively on the first element, crediting it to the Homoian ‘Arian’ prejudices of the translator, Wulfila, or to his opposition to modalist tendencies in pro-Nicene thought of the 340s. Neither interpretation is satisfactory, the first because the Gothic displays no generalised Homoian b

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Rassendren, Etienne. "‘Little Wolf’ and the Alphabet: Nationality and its Spaces." Artha - Journal of Social Sciences 17, no. 3 (2018): 15–36. http://dx.doi.org/10.12724/ajss.46.2.

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This article intends to investigate the conjuncture between the birth of an alphabet, the notion of space, the migration of people, the function of belief and religion and the formation of identities. It employs Ulfilas‘ biblical translation and his missioning attitude to comment on the project of Gothic conversion to Christianity and its attendant controversies, particularly that of Arianism. The article explores how spaces become cultural geographies and imbue geo-histories, specifically in the moment of Biblical translations and the travel of people. It also argues that language and spaces

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Purdon, Liam O. "Translation and the Squire’s Fabulous “Traveling Icon” Narrative Venture." Chaucer Review 60, no. 3 (2025): 322–51. https://doi.org/10.5325/chaucerrev.60.3.0322.

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ABSTRACT Utilizing the matter of composite romance, Chaucer’s Squire’s two-part avant-garde tale, like a traveling icon inviting heuristic response, juxtaposes the styles of the Late Romanesque/Early Gothic and the Later Gothic to demonstrate how the inevitable transformation of nonmimetic into mimetic fiction is effectuated by translation. In emphasizing perpendicularity, individualization, and isolation, Part I’s quasi-symmetrical frame underscores effective acts of translation by the Squire and the Mamluk stranger-knight, enclosing for contrastive purpose a middle section that details the d

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Vinogradov, Andrey, and Maksim Korobov. "Gothic graffiti from the Mangup basilica." NOWELE / North-Western European Language Evolution 71, no. 2 (2018): 223–35. http://dx.doi.org/10.1075/nowele.00013.vin.

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Abstract For more than a millennium there have been reports testifying to the presence of Goths in the Crimea. However, until a few years ago, the only evidence of a Gothic or Germanic idiom spoken in the peninsula stems from the list of words recorded between 1560 and 1562 by Ogier de Busbecq. Significant new evidence, however, has become available through the recent discovery of five Gothic graffiti scratched on two reused fragments of a cornice belonging to the early Byzantine basilica at Mangup-Qale in the Crimea. The graffiti, datable to between about 850 and the end of the 10th century,

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Kida, Ireneusz. "Comparison of the definite article in Gothic and Greek: a case study of the Gospel of Mark." Prace Językoznawcze 26, no. 3 (2024): 149–66. http://dx.doi.org/10.31648/pj.10354.

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This paper examines the usage of the definite article in the Gothic version of the Gospel of Mark and its parallel Greek counterpart, which served as the foundation for the Gothic translation. While the Gothic text is often considered a literal reflection of the Greek text, our analysis reveals significant differences between the two languages, particularly concerning the definite article. These disparities extend beyond mere quantity and encompass variations in grammatical cases, namely nominative, genitive, dative, and accusative. The analysis of the Gospel of Mark yields the following overa

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Kleyner, Svetlana. "Changed In Translation: Greek Actives Become Gothic Passives." Transactions of the Philological Society 117, no. 1 (2019): 112–31. http://dx.doi.org/10.1111/1467-968x.12149.

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Syskina, Anna A., and Irina A. Matveenko. "The Gothic Tradition in Jane Eyre and The Woman in White in Russian Translations, 1849–1860." Gothic Studies 23, no. 3 (2021): 263–79. http://dx.doi.org/10.3366/gothic.2021.0104.

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Elements drawn from the Gothic tradition were of particular interest to the mid-nineteenth-century Russian translators of Jane Eyre and The Woman in White. That interest was stimulated by the democratization of literature, the expanding market for popular fiction, and the consequent search for models from abroad. In this article, we consider how these early translators rendered the Gothic features of these novels, and especially how they intensified and exaggerated the elements of mystery and terror. We also consider contrasts in the reviewers’ responses to Brontë’s and Collins’s texts, contra

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Morin, Christina. "Mapping Melmoth: Charles Robert Maturin in/and the World Republic of Letters." Gothic Studies 26, no. 2 (2024): 115–31. http://dx.doi.org/10.3366/gothic.2024.0192.

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This article offers a transnational mapping of Melmoth the Wanderer (1820) that links fictional narrative both to the contexts of its production and dissemination in a global literary marketplace and to its network of influence, and more particularly, its reputation and afterlife within what Pascale Casanova has influentially called ‘the world republic of letters’. It first considers Melmoth’s internal geography and the novel’s use of space in relation to Maturin’s quest for ‘literary capital’. 1 It then expands upon, in Casanova’s terms, Melmoth’s ‘ littérisation’, namely, the process by whic

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Maguire, Muireann. "‘A Melmoth? a cosmopolitan? a patriot?’: Melmoth the Wanderer's Russian Epigones." Gothic Studies 26, no. 2 (2024): 148–64. http://dx.doi.org/10.3366/gothic.2024.0194.

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Maturin's Melmoth the Wanderer had immediate, rich, and enduring influence upon Russian literature: Aleksandr Pushkin, after reading it in French translation in 1823, cited it in his own 1833 novel-in-verse Eugene Onegin, introducing the adjective ‘ mel’moticheskii’ (‘Melmoth-like’) to Russian. The titular demon of Mikhail Lermontov's dramatic poem The Demon (c. 1838) emulates Melmoth, while Maturin's novel was significant both for Nikolai Gogol and Fyodor Dostoevsky. Maturin's novel was just as widely read and (sometimes) travestied within Russia as the work of other Gothic-fantastic authors,

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Falluomini, Carla. "Overt subject pronoun in Gothic vs null subject in Greek." Historical Germanic morphosyntax 74, no. 2 (2021): 155–71. http://dx.doi.org/10.1075/nowele.00055.fal.

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Abstract The Gothic translation of the Bible is a word-for-word rendition of a lost Greek Vorlage (reconstructed by W. Streitberg in 1908; 2nd revised edition in 1919). As previous studies have pointed out, one of the most interesting features of this version is the presence of the overt subject pronoun in instances where there is a null subject in Greek. Considering that Gothic is a null subject language, how is it possible to justify this feature? Based on a new collation that uses biblical textual witnesses not considered by Streitberg (i.e. Greek majuscule and minuscule manuscripts, Church

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De Brún, Sorcha. "“In a Sea of Wonders:” Eastern Europe and Transylvania in the Irish-Language Translation of Dracula." Acta Universitatis Sapientiae, Philologica 12, no. 1 (2020): 70–83. http://dx.doi.org/10.2478/ausp-2020-0006.

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Abstract The publication of the Irish-language translation of Dracula in 1933 by Seán Ó Cuirrín was a landmark moment in the history of Irish-language letters. This article takes as its starting point the idea that language is a central theme in Dracula. However, the representation of Transylvania in the translation marked a departure from Bram Stoker’s original. A masterful translation, one of its most salient features is Ó Cuirrín’s complex use of the Irish language, particularly in relation to Eastern European language, character, and landscapes. The article examines Ó Cuirrín’s prose and w

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Mazurkiewicz, Adam. "U źródeł gotycyzmu." Literatura i Kultura Popularna 25 (July 28, 2020): 533–36. http://dx.doi.org/10.19195/0867-7441.25.31.

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Polska ballada gotycka [The Polish Gothic Ballad] by Paweł Pluta, is one of a few, and one of the first complete case studies in Polish humanities whose reminiscence has had a huge impact on the shape of modern culture (not only popular culture).Pluta focuses on works created between 1771–1830. The author argues that the gothic ballad has its roots in literary communication, when the translations of Phillippe Habert’s Le Temple de la Mort (1633) (pp. 36–37) by Adam Stanisław Naruszewicz and Mateusz Czarnek were published. Pluta treats these first translations as the “beginning of literary Goth

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Bowers, Katherine. "Ghost Writers: Radcliffiana and the Russian Gothic Wave." Victorian Popular Fictions Journal 3, no. 2 (2021): 152–71. http://dx.doi.org/10.46911/tvct9530.

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Ann Radcliffe’s novels were extremely popular in early nineteenth-century Russia. Publication of her work in Russian translation propelled the so-called gothic wave of 1800-10. Yet, many of the works Radcliffe was known for in Russia were not written by her; rather, they were works by others that were attributed to Radcliffe. This article traces the publication and translation histories of Radcliffiana on the Russian book market of 1800-20. Building on JoEllen DeLucia’s concept of a “corporate Radcliffe” in the anglophone world, this article proposes a Russian corporate Radcliffe. Identifying,

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Piwowarczyk, Dariusz R. "A Note on the Etymology of Brūtes/Brūtis ‘a (Latin-Speaking?) Bride’." Classica Cracoviensia 27 (December 31, 2024): 377–87. https://doi.org/10.12797/cc.27.2024.27.15.

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The purpose of this article is to trace the etymology of the Late Latin word brūtes/brūtis ‘(Latin-speaking?) wife’ and try to decide whether the exact origin of this word can go back without doubt to the Gothic form *brūþs attested in the form of the acc. sg. in the Gothic translation of the Bible made by the bishop Wulfila in the 4th century AD, as is usually assumed in the scholarly literature. It is concluded that the origins of the word should rather be traced to East Germanic *brūþiz although all of the details are still not clear due to the lack of direct evidence and other hypotheses s

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Crellin, Robert. "The Greek Perfect through Gothic Eyes: Evidence for the Existence of a Unitary Semantic for the Greek Perfect in New Testament Greek." Journal of Greek Linguistics 14, no. 1 (2014): 5–42. http://dx.doi.org/10.1163/15699846-01401002.

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The semantics of the later Koine Greek perfect have been the subject of considerable debate in recent years. For the immediately post-Classical language Haug (2004) has suggested that the perfect combines resultant state and XN semantics, unifiable under the framework of event realisation (Bohnemeyer & Swift 2004). The present article presents a modified unitary semantic in terms of participant property (Smith 1997), and assesses its validity with reference to the translation of the perfect indicative active into Gothic. It is found that, while non-state verbs are translated only with past

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Pakis, Valentine A. "Homoian vestiges in the Gothic translation of Luke 3,23-38." Zeitschrift für deutsches Altertum und deutsche Literatur 137, no. 3 (2008): 277–304. http://dx.doi.org/10.3813/zfda-2008-0014.

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Pakhsarian, N. T. "THE PLEASURE OF FEAR: PARADOXES OF GOTHIC POETICS IN THE FRENCH “BLACK NOVELS” OF THE 1790 S." Lomonosov Journal of Philology, no. 3, 2024 (June 17, 2024): 182–94. http://dx.doi.org/10.55959/msu0130-0075-9-2024-47-03-14.

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In the process of the formation of the “black novel” poetics in French literature at the turn of the 18th–19th centuries, along with its Baroque and sentimentalist origins, both translations of English Gothic novels and various stylizations for them play a significant role. The appeal of describing novelistic “horrors” determines their growing popularity among readers. Paradoxically, it turns out that parodies of such works arise almost immediately — both in England and in France, testifying more to the viability of this genre than to its decline. Unlike the English Gothic plots, which involve

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O'Donnell, Kathleen Ann. "Translations of Ossian, Thomas Moore and the Gothic by 19th Century European Radical Intellectuals: The Democratic Eastern Federation." Lublin Studies in Modern Languages and Literature 43, no. 4 (2019): 89. http://dx.doi.org/10.17951/lsmll.2019.43.4.89-104.

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<p>This article will show how translated works by European radical writers of <em>The Poems of Ossian</em> by the Scot James Macpherson and <em>Irish Melodies</em> and other works by the Irishman Thomas Moore, were disseminated. Moore prefaced <em>Irish Melodies</em> with “In Imitation of Ossian”. It will also demonstrate how Celtic literature, written in English, influenced the Gothic genre. The propagation of these works was also disseminated in order to implement democratic federalism, without monarchy; one example is the Democratic Eastern Federati

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Ruffini, Mirian. "“Dentro da noite” e “O bebê de Tarlatana Rosa”, de João do Rio: elementos góticos e fantásticos em tradução." Revista Brasileira de Literatura Comparada 24, no. 47 (2022): 105–23. http://dx.doi.org/10.1590/2596-304x20222447mr.

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RESUMO Este artigo empreende uma análise de traduções dos contos de João do Rio intitulados “Dentro da noite” e “O bebê de tarlatana rosa” para a língua inglesa, com enfoque na transposição de elementos góticos e fantásticos nessas narrativas curtas ficcionais decadentistas. As configurações das redes temáticas do espaço, do medo e dos elementos góticos e fantásticos são analisadas nas traduções, com especial ênfase na transposição do encadeamento desses campos semânticos cotejados entre texto fonte e tradução. O aporte teórico dos estudos da tradução e da literatura comparada, nos textos de L

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블러드크리스챤. "Gothic Translatio Studii: Menippea in Walpole’s The Castle of Otranto." Journal of English Language and Literature 61, no. 1 (2015): 85–107. http://dx.doi.org/10.15794/jell.2015.61.1.006.

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Maroshi, V. V. "Gothic beetle: a comment on one of Pushkin’s allusions." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 66–79. http://dx.doi.org/10.17223/18137083/72/5.

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The paper deals with the beetle as a minor character of the seventh chapter of the novel “Eugene Onegin” and a literary allusion. It is syntactically and rhythmically highlighted in the text of the stanza. V. V. Nabokov was the first to try to set the origin of the character from English literature. The closest meaning of the allusion was a reference to V. A. Zhukovsky, with his surname associated with the beetle by its etymology and the appearance of a “buzzing beetle” in his translation of T. Gray’s “Elegy Written in a Country Churchyard.” The landscape of the 15th stanza of the novel is rep

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Webster-Parmentier, Bethany Jordan. "Attempted Indigenous Erasure and Frontier Gothic in Arrival (2016)." Humanities 13, no. 1 (2024): 29. http://dx.doi.org/10.3390/h13010029.

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In the process of adapting a written narrative for the silver screen, there is much that can be lost (or gained) in translation. Arrival, Denis Villeneuve’s adaption of Ted Chiang’s Story of Your Life, is no exception. Often analyzed as a work of science fiction, this article argues that understanding Arrival as a work of the frontier gothic renders the attempted erasure of Indigenous presence in the film visible. The frontier gothic elements of Arrival, most prominently the transformation of Chiang’s protagonist, Louise, into a frontier hero(ine), and the looming Montana setting, both evoke a

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Tavárez, David. "Nahua Intellectuals, Franciscan Scholars, and the Devotio Moderna in Colonial Mexico." Americas 70, no. 02 (2013): 203–35. http://dx.doi.org/10.1017/s0003161500003229.

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In 1570, the Franciscan friar Jerónimo de Mendieta bestowed a rare gift on Juan de Ovando, then president of the Council of Indies. Mendieta placed in Ovando's hands a small manuscript volume in superb Gothic script with illuminated initials and color illustrations, one of several important manuscripts he had brought to Spain for various prominent recipients. Were it not for its contents, one could have thought it a meticulous version of a breviary or a book of hours, but its contents were unprecedented. This tome contained a scholarly Nahuatl translation of the most popular devotional work in

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Tavárez, David. "Nahua Intellectuals, Franciscan Scholars, and theDevotio Modernain Colonial Mexico." Americas 70, no. 2 (2013): 203–35. http://dx.doi.org/10.1353/tam.2013.0106.

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In 1570, the Franciscan friar Jerónimo de Mendieta bestowed a rare gift on Juan de Ovando, then president of the Council of Indies. Mendieta placed in Ovando's hands a small manuscript volume in superb Gothic script with illuminated initials and color illustrations, one of several important manuscripts he had brought to Spain for various prominent recipients. Were it not for its contents, one could have thought it a meticulous version of a breviary or a book of hours, but its contents were unprecedented. This tome contained a scholarly Nahuatl translation of the most popular devotional work in

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Zupan, Simon. "Repetition and Translation Shifts." ELOPE: English Language Overseas Perspectives and Enquiries 3, no. 1-2 (2006): 257–68. http://dx.doi.org/10.4312/elope.3.1-2.257-268.

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Repetition manifests itself in different ways and at different levels of the text. The first basic type of repetition involves complete recurrences; in which a particular textual feature repeats in its entirety. The second type involves partial recurrences; in which the second repetition of the same textual feature includes certain modifications to the first occurrence. In the article; repetitive patterns in Edgar Allan Poe’s short story “The Fall of the House of Usher” and its Slovene translation; “Konec Usherjeve hiše”; are compared. The author examines different kinds of repetitive patterns

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