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Journal articles on the topic 'Translating into Gothic'
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1
Ratkus, Artūras. "THE GREEK SOURCESOF THE GOTHIC BIBLE TRANSLATION." Vertimo studijos 2, no. 2 (April 6, 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 represent authentic properties of Gothic—it has been argued in the literature, based on such deviations, that Gothic is an SOV language. A comparison of the Gothic Bible and different versions of the Greek New Testament gives a taxonomy of structural and linguistic differences. Based on this, I argue that the correct version of the Greek Bible to use when analysing the structural properties of Gothic is the Byzantine text form, represented by the Majority Text of the New Testament.
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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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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 (November 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, by analysing three scenes in Matthew Gregory Lewis’ gothic novel The Monk (1796), Antonin Artaud's French translation (1931), and John Phillips’ back-translation (2003). It argues that the study of back-translations is valuable retrospectively, insofar as it magnifies elements which were underdeveloped in source-texts, and that, in so doing, it has the potential to transform our understanding of the larger trajectory of literary works.
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Quak, Arend. "Die Psalmen in gotischer Sprache." Amsterdamer Beiträge zur älteren Germanistik 80, no. 1-2 (August 12, 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 (July 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 haunts the mind, the text, and the history of the Gothic as a process as much as a product. It demonstrates that fragmentation operates along lines of cannibalism, resurrection and haunting to establish a pattern of influence that paves the way for modern forms of gothic intertextuality and adaptation. Importantly, it thereby locates fragmentation as a process at the heart of the Gothic mode.
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Ratkus, Artūras. "Greek ἀρχιερεύς in Gothic translation." NOWELE / North-Western European Language Evolution 71, no. 1 (April 5, 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 introduced by putative post-Wulfilian revisers of the Gothic text. The findings call into question the traditional narrative of Wulfila’s single-handed translation of the Bible into Gothic.
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Aguirre, Manuel. "‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction." Studia Anglica Posnaniensia 49, no. 2 (January 29, 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 mentioned in Jane Austen’s Northanger Abbey. There is currently no literature on the topic of formulaic language in Gothic prose fiction. The article resorts to a modified understanding of the term ‘collocation’ as used in lexicography and corpus linguistics to identify the significant co-occurrence of two or more words in proximity. It also draws on insights from the Theory of Oral-Formulaic Composition, in particular as concerns the use of the term ‘formula’ in traditional epic poetry, though again some modifications are required by the nature of Teuthold’s text. The article differentiates between formula as a set of words which appear in invariant or near-invariant collocation more than once, and a formulaic pattern, a rather more complex, open system of collocations involving lexical and other fields. The article isolates a formulaic pattern—that gravitating around the node-word ‘horror’, a key word for the entire Gothic genre –, defines its component elements and structure within the book, and analyses its thematic importance. Key to this analysis are the concepts of overpatterning, ritualization, equivalence and visibility.
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Verri, Giovanni, and Matteo Tarsi. "Two Short Essays by Árni Magnússon on the Origins of the Icelandic Language." Historiographia Linguistica 45, no. 1-2 (June 20, 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 (§ 2). Subsequently (§ 3), Árni Magnússon’s life and work are presented. In the following Section (§ 4), the manuscript containing the two essays, AM 436 4to, is described. The two essays are then edited and translated in Section 5. In the last Section (§ 6), the two works are commented and Árni Magnússon’s scholarly thought evaluated.
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Van Hoof, Henri. "Traduction biblique et genèse linguistique." Babel. Revue internationale de la traduction / International Journal of Translation 36, no. 1 (January 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 shape the English and German tongues and to develop their literary qualities.
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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 motivations makes the stylistic motivations difficult to verify. It is concluded that the distribution of forms is largely determined by factors such as literalism as the main translation technique as well as contrasts between the synthetic and periphrastic ‘be’ passives in terms of the actionality of the former and stativity of the latter.
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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 only with reference to this figure, and not to other women. In this paper, my aim is to show this circumstance, using fragments from the Gothic Bible, translated from Greek by the Arian bishop Ulfilas (4th century). I will gather the terms that are used in gothic to refer to a woman, whether it is the Virgin Mary or not, and I will also analyse the contexts in which these terms are used, in order to discover what specific terms are used only with reference to the Virgin Mary, and in which specific contexts, and what terms are not used with reference to her. Finally, I will attempt to explain the reasons that might reasonably have given rise to these distinctions. Key words: Biblical Translation, terminological distinctions, Virgin Mary, gothic language, lexical field, woman.
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Mustafa, Jamil. "Penny Dreadful’s Queer Orientalism: The Translations of Ferdinand Lyle." Humanities 9, no. 3 (September 9, 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 challenging late-Victorian attitudes toward queerness and Orientalism.
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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 references to Reise in modern bibliographies have been to the French translation, Voyages en Guinée (Paris, 1793). This indicates a greater availability of the translation, a greater degree of competence/ease in reading French than the German in its original form, or both. The 1793 translation has recently been issued in a modern reprint, with the orthography modernized and with an introduction and notes by Nicoué Gayibor. Having recently completed my own translation, I have now had the opportunity to examine the 1793 edition more closely, and have noticed a number of variations and divergencies from the original. I would like to examine these here, largely as an illustration of problems in translation, using both a copy of the 1793 edition and the new reprint. The latter, barring a few orthographical errors—confusion of f's and s's—is true to its predecessor.
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Rassendren, Etienne. "‘Little Wolf’ and the Alphabet: Nationality and its Spaces." Artha - Journal of Social Sciences 17, no. 3 (July 1, 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 cannot escape the cultural-politics of nationality. At the end, it concludes by commenting of the contemporary relevance of the conjuncture above-mentioned.
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Vinogradov, Andrey, and Maksim Korobov. "Gothic graffiti from the Mangup basilica." NOWELE / North-Western European Language Evolution 71, no. 2 (June 21, 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, exhibit words in Gothic known from Wulfila’s Bible translation, the script used being an archaic variant of Wulfila’s alphabet and the only specimen of this alphabet attested outside Pannonia and Italy. There would seem to be evidence for assuming that, among educated Crimean Goths, Gothic served as a spoken vernacular in a triglossic situation along with a purely literary type of Gothic and with Greek in the second half of the 9th century.
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Kleyner, Svetlana. "Changed In Translation: Greek Actives Become Gothic Passives." Transactions of the Philological Society 117, no. 1 (January 22, 2019): 112–31. http://dx.doi.org/10.1111/1467-968x.12149.
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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 (October 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 will explore how his approaches to concrete and abstract elements of the novel affect plot, character, and narration. The first section explores how Dracula is treated by Ó Cuirrín in the Irish translation and how this impacts the Count’s persona and his identity as Transylvanian. Through Ó Cuirrín’s use of idiom, alliteration, and proverb, it will be shown how Dracula’s character is reimagined, creating a more nuanced narrative than the original. The second section shows how Ó Cuirrín translates Jonathan Harker’s point of view in relation to Dracula. It shows that, through the use of figurative language, Ó Cuirrín develops the gothic element to Dracula’s character. The article then examines Ó Cuirrín’s translations of Transylvanian landscapes and soundscapes. It will show how Ó Cuirrín’s translation matched Stoker’s original work to near perfection, but with additional poetic techniques, and how Ó Cuirrín created a soundscape of horror throughout the entirety of the translation.
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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 Gothicism in Poland” (p. 37). In the institutional and ideological context, it is a significant statement, as Habert was a part of the Académie des Illustres Bergers group which gathered writers fascinated by pastoral poetry. Thus, such a choice of inspirations of the Polish “gothic poets” makes it possible for Pluta to combine the two types of gothic ballad, one related to horror and the other to history. On the other hand, in the context of importance of 1830, the author alleges the opinion of Zyg-munt Krasiński from 1831 (p. 194); it seems all the more important, as in his youth the writer created gothic horror stories (for instance his debut Grób rodziny Reichstalów [The Tomb of the Reichstal Family] 1828, Mściwy karzeł i Masław książę mazowiecki [The Vindictive Midget and Masław the Mazovian Prince] 1830). It is important to remember that the gothic imaginarium (especially its hor-ror kind) permeated to lyric poetry and other genres (e.g. verse novel) and still left room for creative potential. Thus, the year 1830 marks not the end of some of tendencies, but rather their turning point. It is worth mentioning Pluta’s monograph published by The Institute of Literary Research; its bibliography is not listed in alphabetical order but in a chronological one and the dates of the first edi-tions of each source are included. This indicates not only the scientific meticulousness of the publisher, but also the awareness that in the times of the internet and easy access to library and archival resources, the reader may wish to study not only the modern editions of a given text, but also the original.
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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-tense forms in Gothic, contrary to traditional and even many modern views of the Greek perfect, the perfect of both pure state and change-of-state verbs are compatible with both past and non-past tense readings. The fact that this is the case regardless of the diachronic pedigree of the perfect forms concerned is taken as evidence consistent with the existence of the proposed unitary semantic for the Greek perfect in the New Testament in the eyes of the Gothic translator.
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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 (December 30, 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 Federation, founded in Athens and Bucharest. To what extent did translations and imitations by Russian and Polish revolutionary intellectuals of Celtic literature and the Gothic influence Balkan revolutionary men of letters?</p>
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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 (March 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 represented within the genres of elegy, pastoral, and ballad. We expand the field of Pushkin’s allusion to the Gothic novels of A. Radcliffe and Gothic fiction in general. Mentioning the beetle launches a chain of reminiscences from Gothic novels during Tatiana’s walk and her visit to Onegin’s empty “castle.” The quotations from Shakespeare and Collins in Radcliffe’s novels are of great significance. Shakespeare’s beetle, a Hecate’s messenger, is involved in creating an atmosphere of night fears and mystery surrounding the scene in Onegin’s castle. A collection of Radcliffe’s novels in Pushkin’s library suggests the poet was somewhat familiar with the paratext of the novel “The Romance of the Forest”. Moreover, the beetle as a parody character for a ballad and a Gothic novel appeared in the unfinished poem “Vasily Khrabrov” by the poet’s uncle, V. L. Pushkin.
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Tavárez, David. "Nahua Intellectuals, Franciscan Scholars, and the Devotio Moderna in Colonial Mexico." Americas 70, no. 02 (October 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 Western Europe in the previous century. It was Thomas à Kempis's Imitation of Christ, which caught Iberian Christians under its spell between the 1460s and the early sixteenth century by means of multiple Latin editions and translations into Portuguese, Catalan, and Spanish, including a version in aljamiado (Spanish in Arabic characters). Indeed, a decisive turning point in the Iberian reception of this work had taken place three decades earlier, through the 1536 publication of Juan de Ávila's influential Spanish-language adaptation.
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Tavárez, David. "Nahua Intellectuals, Franciscan Scholars, and theDevotio Modernain Colonial Mexico." Americas 70, no. 2 (October 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 Western Europe in the previous century. It was Thomas à Kempis's Imitation of Christ, which caught Iberian Christians under its spell between the 1460s and the early sixteenth century by means of multiple Latin editions and translations into Portuguese, Catalan, and Spanish, including a version in aljamiado (Spanish in Arabic characters). Indeed, a decisive turning point in the Iberian reception of this work had taken place three decades earlier, through the 1536 publication of Juan de Ávila's influential Spanish-language adaptation.
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Zupan, Simon. "Repetition and Translation Shifts." ELOPE: English Language Overseas Perspectives and Enquiries 3, no. 1-2 (June 20, 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. Repetitions are compared at both the micro- and macrostructural levels. As detailed analyses have shown; considerable microstructural translation shifts occur in certain types of repetitive patterns. Since these are not only occasional; sporadic phenomena; but are of a relatively high frequency; they reduce the translated text’s potential for achieving some of the gothic effects. The macrostructural textual property particularly affected by these shifts is the narrator’s experience as described by the narrative; which suffers a reduction in intensity.
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Falluomini, Carla. "Traces of Wulfila’s Bible Translation in Visigothic Gaul." Amsterdamer Beiträge zur älteren Germanistik 80, no. 1-2 (August 12, 2020): 5–24. http://dx.doi.org/10.1163/18756719-12340178.
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Abstract The analysis of the biblical names transmitted by the – now lost – mosaic inscriptions of the church Notre-Dame de la Daurade, in Toulouse, suggests the possibility that they may represent the Latin adaptation of Gothic names deriving from Wulfila’s Bible translation. These forms would therefore be significant witnesses to the circulation of the Wulfilian text in Visigothic Gaul. They would also testify to the ongoing Latin acculturation of the new settlers in Gaul, or at least in the capital Toulouse, where the (relatively) peaceful relations with the Gallo-Romans, encouraged by a court open to Roman culture, may have promoted a rapid bilingualism – although not a complete assimilation – of the Visigothic population. The mosaic inscriptions of the Daurade would perfectly represent this cultural amalgamation, by joining the traditional religious belief (Arianism-Homoianism) and texts (Wulfila’s version) of the Goths, with forms of art (mosaics) and language of the Gallo-Romans.
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Ming-Tsang Yang. "From Camelot to Sandlot: Gothic Translation in A Kid in King Arthur’s Court." Medieval and Early Modern English Studies 17, no. 1 (February 2009): 63–88. http://dx.doi.org/10.17054/memes.2009.17.1.63.
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Sawczuk, Tomasz. "Taking Horror as You Find It: From Found Manuscripts to Found Footage Aesthetics." Text Matters, no. 10 (November 24, 2020): 223–35. http://dx.doi.org/10.18778/2083-2931.10.14.
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An authenticator of the story and a well-tested enhancer of immersion, the trope of the found manuscript has been a persistent presence in Gothic writing since the birth of the genre. The narrative frame offered by purported textual artifacts has always aligned well with the genre’s preoccupation with questions of literary integrity, veracity, authorial originality, ontological anxiety and agency. However, for some time now the application of the found manuscript convention to Gothic fiction has been reduced to a mere token of the genre, failing to gain impact or credibility. A revival of the convention appears to have taken place with the remediation and appropriation of the principally literary trope by the language of film, more specifically, the found footage horror subgenre.
The article wishes to survey the common modes and purposes of the found manuscript device (by referring mostly to works of classical Gothic literature, such as The Castle of Otranto, Dracula and Frankenstein) to further utilize Dirk Delabastita’s theories on intersemiotic translation and investigate the gains and losses coming with transfiguring the device into the visual form. Found footage horrors have remained both exceptionally popular with audiences and successful at prolonging the convention by inventing a number of strategies related to performing authenticity. The three films considered for analysis, The Blair Witch Project (1999), Paranormal Activity (2007) and REC (2007), exhibit clear literary provenance, yet they also enhance purporting credibility respectively by rendering visual rawness, appealing to voyeuristic tastes, and exploiting susceptibility to conspiratorial thinking.
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Gürçağlar, Şehnaz Tahir. "Adding towards a nationalist text." Target. International Journal of Translation Studies 13, no. 1 (November 8, 2001): 125–48. http://dx.doi.org/10.1075/target.13.1.08gur.
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This is a study of a “concealed translation” of Bram Stoker’s Dracula in Turkish. Ali Riza Seyfi, who was known as an author and translator of historical fiction and books on Turkish history, produced a version of the novel under the title Kazikli Voyvoda,which was published in 1928 and reprinted in 1946. Kazikli Voyvoda combines the original gothic aspects with a Turkish nationalist discourse, exemplifying the kind of role translation can assume in the making of national identities. The article traces the matricial norms employed by Seyfi to reveal those of his additions to Dracula that resulted in a highly nationalist text. It is further pointed out that Kazikli Voyvoda stands in a specific relationship with the notions of “national” and “nationalist” literature, which were rather topical around the time the text was published.
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Kella, Elizabeth. "Matrophobia and Uncanny Kinship: Eva Hoffman’s The Secret." Humanities 7, no. 4 (November 21, 2018): 122. http://dx.doi.org/10.3390/h7040122.
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Eva Hoffman, known primarily for her autobiography of exile, Lost in Translation: A Life in a New Language (1989), is also the author of a work of Gothic science fiction, set in the future. The Secret: A Fable for our Time (2001) is narrated by a human clone, whose discovery that she is the “monstrous” cloned offspring of a single mother emerges with growing discomfort at the uncanny similarities and tight bonds between her and her mother. This article places Hoffman’s use of the uncanny in relation to her understanding of Holocaust history and the condition of the postmemory generation. Relying on Freud’s definition of the uncanny as being “both very alien and deeply familiar,” she insists that “the second generation has grown up with the uncanny.” In The Secret, growing up with the uncanny leads to matrophobia, a strong dread of becoming one’s mother. This article draws on theoretical work by Adrienne Rich and Deborah D. Rogers to argue that the novel brings to “the matrophobic Gothic” specific insights into the uncanniness of second-generation experiences of kinship, particularly kinship between survivor mothers and their daughters.
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Warkocki, Błażej. "Zbrodnia inkorporowana. O konwencji „paranoicznego gotyku” w Zbrodni z premedytacją Witolda Gombrowicza." Poznańskie Studia Polonistyczne. Seria Literacka, no. 30 (September 28, 2017): 237–58. http://dx.doi.org/10.14746/pspsl.2017.30.11.
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The article presents the analysis and interpretation (in the form of a close reading) of Witold Gombrowicz’s short story The Premeditated Crime from his debut collection Memoirs from a Time of Immaturity , 1933 (later published under the title Bakakaj or Bacacay in the English translation). The main theoretical framework is the concept of „paranoid Gothic” by Eve Kosofsky Sedgwick, which is based on the reinterpretation of Sigmund Freud’s classic essay Psychoanalytical comments on autobiographically described paranoia . From that perspective Gombrowicz’s narrative is interpreted as a paranoid homosexual narrative, and paranoia itself as a form of love.
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Ratkus, Artūras. "PATTERNS OF LINEAR CORRESPONDENCE IN THE GOTHIC BIBLE TRANSLATION: THE CASE OF THE ADJECTIVE." Vertimo studijos 9, no. 9 (March 15, 2016): 38. http://dx.doi.org/10.15388/vertstud.2016.9.10432.
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Kim, Joohan. "Translations of Greek Personal Names in Gothic New Testament: In Case of Paul’s Letters." LINGUA HUMANITATIS 22, no. 2 (December 31, 2020): 157–78. http://dx.doi.org/10.16945/2020222157.
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Arribas Macho, José María. "Génesis de un concepto: el habitus de Pierre Bourdieu (Postfacio a la obra de Erwin Panofsky: Arquitecture gothique et pensé scolasthique)." Empiria. Revista de metodología de ciencias sociales, no. 49 (December 30, 2020): 165. http://dx.doi.org/10.5944/empiria.49.2021.29237.
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En 1967, Editions Le Minuit publicaba en francés la obra del gran historiador del arte Erwin Panofsky: “Architecture gothique et pensé escolastique”, donde se explica cómo los hábitos mentales producidos por la escolástica medieval habrían influido en el nacimiento de la arquitectura gótica. La traducción francesa era de Pierre Bourdieu, y llevaba un postfacio escrito por él mismo. La relevancia del postfacio reside en que ahí encontramos por primera vez la fundamentación teórica del concepto de habitus, idea que, aunque implícita en trabajos anteriores de Bourdieu, aún no había sido formulada como un concepto angular de su sociología. En el artículo se analiza el campo intelectual de la sociología durante la Francia de postguerra, así como el papel del estructuralismo en la sociología de Bourdieu y en la institucionalización del habitus.In 1967, the French translation of Erwin Panofsky’s work: Gothic Architecture and Scholasticism (The Arch abbey Press, 1951, Latrobe, Pennsylvania) was published by Les Editions de Minuit. Inside those pages, the great Art historian explained the connections between the rise of gothic architecture and the medieval scholastic thought. The translation was made by Pierre Bourdieu, but the book included a post face written by him. The relevance of the post face, resides in that the concept habitus appears for the first time with all its theoretical and sociological extension. While the idea was used before in prior Pierre Bourdieu’s works, it had not yet been mentioned as a relevant cornerstone of his sociological framework. In this article we analyses the intellectual field of sociology in the French postwar period, the role of structuralism in the Bourdieu’s Sociology and the institutionalization of the habitus.
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Ratkus, Artūras. "This is not the same: the ambiguity of a Gothic adjective." Folia Linguistica 39, no. 2 (October 25, 2018): 475–94. http://dx.doi.org/10.1515/flih-2018-0017.
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Abstract In line with the traditional pronouncement that the weak (definite) forms of adjectives in Germanic follow the definite determiner, the Gothic weak-only adjective sama ‘the same’ (no indefinite form *sams, with the strong inflection -s, occurs) is determined (sa sama ‘the same’) in the majority of its attestations. However, contrary to the traditional description, occasionally it also occurs on its own, without a determiner. An examination of the syntactic distribution of the adjective and a comparison of the Gothic translation of the Bible with the Greek and Latin texts uncover a double semantic nature of sama. Specifically, when determined, sama conveys a definite/particularising force of ‘the same’. In the absence of the determiner, however, it conveys the semantic value of ‘one; of one kind’. The results of this investigation contribute to our understanding of the conditions that govern the distribution of strong vs. weak adjective inflections in early Germanic. In particular, they confirm the contention that the occurrence of the weak form of the adjective is not simply a matter of whether or not a definite determiner precedes it. Instead, the definite value of the adjective inflection is realised cumulatively (periphrastically), via the co-occurrence of the definite determiner and the weak adjective inflection.
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Gajdošová, Jana. "The Lost Gothic Statue of St. Wenceslas at the Old Town Bridge Tower." Zeitschrift für Kunstgeschichte 80, no. 3 (December 30, 2017): 315–28. http://dx.doi.org/10.1515/zkg-2017-0016.
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Abstract This article suggests that a Gothic statue of St. Wenceslas once stood in front of Prague’s Old Town Bridge Tower in a location where a miracle associated with the translation of the saint’s body occurred. Consequently, the statue complemented the east façade’s sculptural program but was also set away from it in order to signal the saint’s significance here. This location in turn encouraged the viewers below to interact with the statue in a very intimate way, and also to make a link between this canonized Bohemian ruler and Emperor Charles IV. The emperor’s own statue on the façade, fashioned with the symbols of St. Wenceslas, leaned out of its architectural niche in order to look down at the saint-king and to emphasize the link between the two rulers.
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Sroka, Kazimierz A. "Kontakt językowy w tłumaczeniu. Początkowy etap rozwoju przedimka określonego w świetle gockiego przekładu Biblii." Biuletyn Polskiego Towarzystwa Językoznawczego LXXV, no. 75 (December 31, 2019): 141–63. http://dx.doi.org/10.5604/01.3001.0013.6618.
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Language contact in translation: The initial stage in the development of the definite article in the light of the Gothic text of the Bible. Summary: Definiteness (weak determination) is a characteristic of grammatical constructions whose base is a name, and whose formative is an article (a weak determiner). In definiteness, we distinguish between exponents (which are formatives of the mentioned grammatical constructions), e.g. the, a(n), functives (or determinants), and formal values (viz. definite, indefinite, and bare). Functives are the factors which, at the stage of encoding, determine the occurrence of particular exponents. They are either formal (e.g. the target role of the article as an exponent of nominalization) or logico-semantic. The latter make a system whose components are the actual scope values of a countable common name, viz. α1 = unique, α2 = identifying, β = free, γ1 = universal, γ2 = existential, and δ = species-oriented. They correspond to the subsets of the scope of the name which, at the stage of encoding, are those to be conveyed in the message, and, at the stage of decoding, are recognized as actually conveyed. The types of functives mentioned are applied to the analysis of the use of the simple demonstrative sa (m.), sō (f.), þata (n.) ‘this, that’ in the Gothic translation of the Bible. It is shown that this demonstrative can be qualified as an article or article-like determiner when it appears as (a) an exponent of co-reference, i.e. when the actual scope value of the name it precedes is α2 (identifying), e.g. hundafaþs … sa hundafaþs ‘a centurion … the centurion’ (b) an exponent of nominalization, e.g. sa saiands ‘the (one) sowing’, ‘the sower’, and as (c) an element connecting the components of an appositive construction, e.g. sunus meins sa liuba ‘my son the beloved (one)’. Such types of the use of the demonstrative are treated as the initial stage in the development of the definite article in Gothic. It is probable that in a similar way, and especially as an exponent of co-reference, this article started to develop also in other languages. The influence of the Greek original upon the use of the Gothic simple demonstrative as a counterpart of the definite article ὁ, ἡ, τό is indubitable but it is not so strong as to violate the morpho-semantic rules of Gothic. Thus, in the case of the actual scope value α1 (unique) and γ1 (universal), a simple name in Gothic is preceded by the zero determiner although (but not always) in the Greek original it is accompanied by the definite article, e.g. in the case of α1: sauil ὁ ἥλιοϛ ‘the sun’, and in the case of γ1: skalks ὁ δοῦλος ‘the servant’. S t r e s z c z e n i e: Określoność słaba (ang. definiteness) przysługuje konstrukcji gramatycznej, której podstawą (bazą) jest nazwa, a formatywem ‒ określnik słaby, czyli adimek (ang. article), którego odmianą jest przedimek. Na określoność słabą składają się wykładniki (które są formatywami we wspomnianych konstrukcjach gramatycznych), np. ang. the, a(n), funktywy (czyli determinanty) i wartości formalne (mianowicie: określona, nieokreślona i zero-określnikowa). Funktywy to czynniki, które w procesie kodowania determinują występowanie poszczególnych wykładników. Dzielą się one na formalne (np. docelowa rola przedimka jako wykładnika nominalizacji) i logiczno-semantyczne. Te ostatnie stanowią system, na który składają się aktualne wartości zakresowe pospolitej nazwy policzalnej, a mianowicie: α1 = unikatowa, α2 = identyfikująca, β = wolna, γ1 = uniwersalna, γ2 = egzystencjalna i δ = rodzajowa/gatunkowa. Odpowiadają one podzbiorom zakresu nazwy, które na etapie kodowania występują jako docelowe, a na etapie dekodowania są rozpoznawane jako faktycznie obecne. Wymienione rodzaje funktywów są wykorzystane do analizy użycia demonstrativum prostego sa, sō, þata ‘ten, ta, to’, ‘tamten, tamata, tamto’ w gockim przekładzie Biblii. Ukazano, że to demonstrativum ma tu charakter przedimkowy lub przedimkopodobny, gdy występuje jako (a) wykładnik współodniesienia (koreferncji), czyli gdy aktualną wartością zakresową nazwy jest α2 (identyfikująca), np. hundafaþs … sa hundafaþs ‘setnik … (ten) setnik’ (b) wykładnik nominalizacji, np. sa saiands ‘[ten] siejący’, ‘siewca’, oraz (c) element łączący składniki konstrukcji apozycyjnej, np. sunus meins sa liuba ‘syn mój [ten] umiłowany’. Tego rodzaju użycia demonstrativum traktowane są jako początkowy etap rozwoju przedimka określonego w gockim. Jest prawdopodobne, że w podobny sposób, a szczególnie jako wykładnik współodniesienia, przedimek ten zaczął się rozwijać także w innych językach. Wpływ oryginału greckiego na użycie demonstrativum jako odpowiednika przedimka określonego ὁ, ἡ, τό jest niewątpliwy, lecz nie tak silny, aby gwałcić reguły morfosemantyczne języka gockiego, o czym świadczy fakt, że w przypadku aktualnej wartości zakresowej α1 (unikatowej) i γ1 (uniwersalnej) nazwę prostą poprzedza w gockim określnik zerowy, mimo że (choć nie zawsze) w greckim oryginale występuje przedimek określony, np. w przypadku α1: sauil ὁ ἥλιοϛ ‘słońce’, a w przypadku γ1: skalks ὁ δοῦλος ‘sługa’.
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Mallan, Christopher, and Caillan Davenport. "Dexippus and the Gothic Invasions: Interpreting the New Vienna Fragment (Codex Vindobonensis Hist. gr.73, ff. 192v–193r)." Journal of Roman Studies 105 (August 10, 2015): 203–26. http://dx.doi.org/10.1017/s0075435815000970.
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ABSTRACTThis article presents an English translation and analysis of a new historical fragment, probably from Dexippus’Scythica, published by Gunther Martin and Jana Grusková in 2014. The fragment, preserved in a palimpsest in the Austrian National Library, describes a Gothic attack on Thessalonica and the subsequent preparations of the Greeks to repel the barbarian force as it moved south into Achaia. The new text provides several important details of historical, prosopographical and historiographical significance, which challenge both our existing understanding of the events in Greece during the reign of Gallienus and the reading of the main literary sources for this period. In this article we look to secure the Dexippan authorship of the fragment, identify the individuals named in the text, and date the events described in the text to the early 260sa.d.
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Evans, Elliott. "Meta-Tatian." Indogermanische Forschungen 125, no. 1 (November 1, 2020): 105–34. http://dx.doi.org/10.1515/if-2020-007.
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AbstractIn addition to inflecting adjectives for case, number, and gender, the early Germanic languages inflect adjectives as either strong or weak. Scholarly consensus is lacking regarding what triggers this fourth inflectional category, i.e. why an adjective surfaces as either strong or weak. While the traditional school of thought held that weak adjectives surface with definite determiners, some recent scholarship has argued that a semantic force such as definiteness or classification is responsible. To evaluate the two positions, I compared attributive adjectives in the Old High German translation of Tatian’s Diatessaron with the corresponding passages in Gothic and Old English. The conclusion supports the traditional school of thought that determiners trigger weak adjectives and refutes the idea that semantics is primarily responsible for whether an adjective surfaces as strong or weak.
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Kleiner, S. "«... before they see the Kingdom of God arrive in great power». Greek dependent participles in Gothic translations." Indo-European linguistics and classical philology XXII (June 7, 2018): 628–33. http://dx.doi.org/10.30842/ielcp230690152248.
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Luboń, Arkadiusz. "Imperatyw konkretyzacji." Między Oryginałem a Przekładem 27, no. 1 (51) (March 15, 2021): 27–52. http://dx.doi.org/10.12797/moap.27.2021.51.02.
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Imperative of Concretization: Translational Shifts and the Models of Reception of Howard Phillips Lovecraft’s Prose – The Case Study of "The Outsider" and its Polish Versions
The Article discusses translational reception of Howard Phillips Lovecraft’s prose in Poland on the example of his short story The Outsider. The gothic tale of a mysterious recluse visiting human society, in its original version, has no explicit interpretation due to the fact that the maincharacter’s identity is intentionally left by Lovecraft without precise and unambiguous explanation for its readers to determine. Polish versions, however, modified in the process of interlinguistic transfer, are aimed at concretization of the text, and thus solving this interpretational puzzle with different answers given by five translators (Grzegorz Iwanciw, Robert Lipski, Ewa Morycińska-Dzius, Mateusz Kopacz and Maciej Płaza), influenced by a variety of factors: image of the American writer, knowledge of his other literary works, implied readers of the translations and artistic trends popular in Polish literature.
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Barclay Lloyd, Joan. "SAINT CATHERINE OF SIENA'S TOMB AND ITS PLACE IN SANTA MARIA SOPRA MINERVA, ROME: NARRATION, TRANSLATION AND VENERATION." Papers of the British School at Rome 83 (September 16, 2015): 111–48. http://dx.doi.org/10.1017/s0068246215000069.
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By examining the historical narratives of Saint Catherine of Siena's death and burial this paper sheds new light on the liturgical layout of the Dominican church of Santa Maria sopra Minerva in Rome c. 1380. Since then Saint Catherine's remains have been translated five times, and at each translation, the form and decoration of her sepulchre has changed, showing how different aspects of her life were commemorated at each renewal of her tomb. These transformations are examined in the light of what survives today and of other literary documentation. Particular attention is given to the way Catherine was represented before and after her canonization in 1461. This explains why a relief attributed to Donatello that has been associated with her tomb may date c. 1430, while a figure of the saint by an artist close to Isaia of Pisa was made c. 1466. The paper also examines the consequences of placing the tomb under the altar of the Capranica chapel in 1579, and of moving the monument under the high altar of the church in 1855, when Santa Maria sopra Minerva was restored according to neo-Gothic principles. Each phase of her tomb shows how Catherine has been venerated from 1380 until the present.
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Olena Volodymyrivna, Hlushchenko, Kornielaieva Yevheniia Valeriivna, and Moskaliuk Olena Viktorivna. "Interpreting Jane Austen’s Writing Style: Adaptations of the Novel Northanger Abbey." Arab World English Journal, no. 3 (November 15, 2020): 221–33. http://dx.doi.org/10.24093/awej/elt3.19.
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The research paper focused on revealing the individual writing style of Jane Austen based on the novel Northanger Abbey and interpretations of its various adaptations. The purpose of the article is to prove that the individual author’s style can be reconstructed due to different stylistic devices that help the reader to understand the message of a literary work more profoundly and take into account in the process of film adaptations. An author’s style is characterized by numerous factors including spelling, word choices, sentence structures, punctuation, use of literary stylistic devices (irony, metaphors, rhyme, etc.) and organization of ideas, narration structure, and overall tone of the narration. The main analytic procedures used in the research are keyness, collocation, and cluster. The authors also define that the novel under analysis is a parody of Gothic fiction. The author ruined the conventions of eighteenth-century novels by making her heroine fall in love with the character before he has a serious thought of her and exposing the heroine’s romantic fears and curiosities as groundless. The article deals with adaptation as an integral part of the concept of intersemiotic translation. It is possible to say that adaptation is an attempt to translate the content of the adapted material into its screening; intersemiotic translation focuses on the analysis and interpretation of semiotic codes in the scope of adapted material. Seven basic operations used to differentiate the range of adaptation are substitution, reduction, addition, amplification, inversion, transaccentation, compression.
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Gilman, Todd S. "Augustan Criticism and Changing Conceptions of English Opera." Theatre Survey 36, no. 2 (November 1995): 1–35. http://dx.doi.org/10.1017/s0040557400001186.
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The love-hate nature of the relations between England and Italy in the seventeenth and eighteenth centuries is well known. Ever since Henry VIII broke with Rome after Pope Clement VII refused to allow his divorce, things Italian were a popular object of satire and general disdain. An ever-increasing British nationalism founded on political, religious, and aesthetic principles during the seventeenth century fanned the flames of anti-Italian sentiment. This nationalism, newly consolidated in the seventeenth century by the ambitions of the Stuart monarchs to destroy Parliament, was intimately connected with English Protestantism. As Samuel Kliger has argued, the triumph of the Goths—Protestant Englishmen's Germanic ancestors—over Roman tyranny in antiquity became for seventeenth-century England a symbol of democratic success. Moreover, observes Kliger, an influential theory rooted in the Reformation, the “translatio imperii ad Teutonicos,” emphasized traditional German racial qualities—youth, vigor, manliness, and moral purity—over those of Latin culture—torpor, decadence, effeminacy, and immorality—and contributed to the modern constitution of the supreme role of the Goths in history. The German translatio implied an analogy between the conquest of the Roman Empire by the Goths (under Charlemagne) and the rallying of the humanist-reformers of northern Europe (e.g., Luther) for religious freedom, understood as liberation from Roman priestcraft; that is, “the translatio crystallized the idea that humanity was twice ransomed from Roman tyranny and depravity—in antiquity by the Goths, in modern times by their descendants, the German reformers…the epithet ‘Gothic’ became not only a polar term in political discussion, a trope for the ‘free,’ but also in religious discussion a trope for all those spiritual, moral, and cultural values contained for the eighteenth century in the single word ‘enlightenment.’”
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Sturgeon, Sinéad. "East-Central Europe in the Writing of James Clarence Mangan." Acta Universitatis Sapientiae, Philologica 12, no. 1 (October 1, 2020): 10–26. http://dx.doi.org/10.2478/ausp-2020-0002.
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Abstract This study explores the significance of East-Central Europe in a range of James Clarence Mangan’s poetry and prose from 1838–1847, focusing particularly on his depiction of Biedermeier Vienna (in the short story “The Man in the Cloak”), revolutionary uprisings in Poland and Albania (in the poems “Siberia” and “Song of the Albanian”), and his translations from the work of Bohemian-born Viennese poet Joseph Christian Freiherr von Zedlitz (1790–1862). I argue that Mangan’s interest in this region is twofold. On the one hand, it stems from the amenability of East-Central European culture and writing to the themes and tropes of the gothic, a genre central to Mangan’s imagination; on the other, from an underlying affinity in the historical position of the Irish and East-European poet in negotiating complex and contested politics of identity. While Mangan is a poet keenly conscious of “the importance of elsewhere,” and closely engaged in contemporary continental politics, I suggest that these European elsewheres also function as Foucauldian heterotopias, mythopoetic mirrors that enable the poet both to participate in Irish cultural nationalism and to register his dissent and distance from it.
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Nedelcheva, Svetlana. "Coining Nonce Words: Contrastive Research Based On A Novel." Studies in Linguistics, Culture, and FLT 9, no. 2 (August 31, 2021): 7–29. http://dx.doi.org/10.46687/mlsr6834.
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Nonce words or occasionalisms are coined for a particular occasion and usually they are used just once. It is especially difficult when such newly created words have to be translated to another language. This article studies John Harding’s novel Florence & Giles and its Bulgarian translation (by Vladimir Molev). It is a sinister Gothic story told by the 12-year-old Florence living in an isolated New England mansion in 1891. She distorts words by transforming them into other parts of speech, e.g. nouns and adjectives are turned into verbs, nouns into adjectives, adverbs and prepositions into verbs, etc. At first, it could be annoying to the reader, however, once you get used to her narration, it is both fanciful and charming. This research studies the intensely concentrated nonce words in the text and their equivalents in Bulgarian from the point of view of their grammatical, word-formative and semantic characteristics. The contrastive method when applied to the parallel corpus shows some similarities and a lot of differences in the particular characteristics of nonce words due to the specifics of the two languages under discussion.
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Petrovic, Ivana, and Andrej Petrovic. "General." Greece and Rome 67, no. 1 (February 28, 2020): 123–37. http://dx.doi.org/10.1017/s0017383519000329.
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When I set out to read the new complete English translation of Cassiodorus’ letters (the quotation is from the preface to Book 1, paragraphs 4–5), I certainly did not expect to be transported to the picket lines of the currently ongoing industrial action of the British University and College Union, and yet the overwhelming administrative workload and the avalanche of tasks that Cassiodorus describes have much in common with the academic pressures many are facing today. Nevertheless, Cassiodorus persevered and published many works, including a collection of no fewer than twelve books of letters, the latter in the middle of the eighteen-year Gothic War (536–54). He did not have to worry about his pension, though, as he was a scion of long line of wealthy and prominent property owners and aristocrats from Calabria and was himself a highly placed magistrate at the court of the Ostrogothic Kingdom of Italy. Cassiodorus was responsible for official state correspondence, and his letters are either written in the name of the Amal kings Theoderic, Amalasuntha, and Athalaric, or are appointments to public office, honorary titles, and legal and administrative decisions. They span thirty years of his career in administration and are a prime source for the political and social history of Italy in the sixth century ad.
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Seibert, Andrei Yur'evich. "The livre partition phenomenon in J.-G. Kastner’s oeuvre." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 9–19. http://dx.doi.org/10.7256/2453-613x.2020.6.34651.
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In the 19th century, after a two-centuries oblivion, the interest in a medieval genre “danse macabre” reappeared. Dances of Death were embodied not only in pictorial art, literature and music, but also attracted the attention of scholars. The research subject of this article is one of such scientific works - “Les Danses des Morts” by J.-G. Kastner. Its uniqueness consists in the combination of a theoretical research and practical embodiment of its results in a piece of music. The genre of the tractate is defined by scholars as “livre partition” - a sheet music book. The article contains the biographical data of the life and creative work of the French scholar, music expert and composer, little-known in Russian musicology. Based on their own translation of the original text, the authors study the structure-content components of the tractate and define its specificity. J.-G. Kastner considers the genre “danse macabre” in the historical, philosophical and aesthetic contexts; traces back the interdependence of literary, decorative, and musical versions of the dances. The tractate of the French musicologist considers in detail the range of instruments of dance macabre (based on the collection of wooden engravings of a gothic Doten Dantz printed in the late 15th century). The authors define the features of J.-G. Kastner’s ideas which differ them from the thanatological views of his predecessors H. Peino and E.-H. Langlois.
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Carrión-Ruiz, B., S. Blanco-Pons, M. Duong, J. Chartrand, M. Li, K. Prochnau, S. Fai, and J. L. Lerma. "AUGMENTED EXPERIENCE TO DISSEMINATE CULTURAL HERITAGE: HOUSE OF COMMONS WINDOWS, PARLIAMENT HILL NATIONAL HISTORIC SITE (CANADA)." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (January 31, 2019): 243–47. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-243-2019.
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<p><strong>Abstract.</strong> The use of photogrammetry and terrestrial laser scanning for building information modelling (BIM) in the documentation and conservation of Cultural Heritage (CH) is now well established. By combining BIM with the latest visualization technologies, powerful, semi-immersive experiences can be developed to enhance the dissemination of CH. In semi-immersive experiences such as Augmented Reality (AR), digital content can be overlapped on to physical spaces, providing a new way to interact with both the physical space and the digital content.</p><p> This paper discusses the translation of a digital object created using BIM, into a physical object and the utilisation of this physical object as a trigger for an AR experience. The case study looks at one of the neo- Gothic window frames from the House of Commons in the Centre Block of the Parliament Hill National Historic Site, in Ottawa, Canada. The window frame is one in a series that represents a Canadian province or territory with a stained glass feature that includes floral emblems and heraldic symbols from the respective provincial or territorial shield. The frame in this case study corresponds to the stained glass window of five provinces. Using the replica frame as a target, the user can select which stained glass windows they would like to view in the AR application.</p><p> Through these combined technologies, we argue that CH can be revealed in a more interactive way and therefore more engaging manner &ndash; making even inaccessible architectural details readily available to the public.</p>
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Gaido, Daniel. "The First Workers’ Government in History: Karl Marx’s Addenda to Lissagaray’s History of the Commune of 1871." Historical Materialism 29, no. 1 (March 19, 2021): 49–112. http://dx.doi.org/10.1163/1569206x-12341972.
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Abstract In Marxist circles it is common to refer to Karl Marx’s The Civil War in France for a theoretical analysis of the historical significance of the Paris Commune, and to Prosper-Olivier Lissagaray’s History of the Commune of 1871 for a description of the facts surrounding the insurrection of the Paris workers and its repression by the National Assembly led by Adolphe Thiers. What is less well-known is that Marx himself oversaw the German translation of Lissagaray’s book and made numerous additions to it. In this article we describe Marx’s addenda to Lissagaray’s work, showing how they contribute to concretising his analysis of the Paris Commune and how they relate to the split in the International Working Men’s Association between Marxists and anarchists that took place after the Commune’s defeat. We also show how Marx’s additions to the German version of Lissagaray’s book were linked to his involvement with the recently created Socialist Workers’ Party of Germany and to his criticism of the programme it had adopted at the congress celebrated in the city of Gotha.