Luciana
Cordo Russo
Contributions to journals
Der Aufsatz konzentriert sich auf die mittelkymrischeRhamant Otuel, die Übersetzungdes französischen Heldengedichts Otinel. Er analysiert die Prologe und ihre epischen Elemente sowie Erweiterungen durch neue Beschreibungen von Figuren. Dabei zeigen sich un-terschiedliche Antworten auf die Vorlage, die von Reproduktion bis Umarbeitung reichen. Sie ermöglichen wertvolle Einblicke in die sprachliche Kompetenz des Übersetzers, seine Kreativität und seine Interessen und in die Interessen des Publikums. Die Übersetzung gibtauch Hinweise auf walisische Einstellungen zu Otinel-Traditionen innerhalb der insularen Rezeption des Stoffkreises um Karl den Großen.
Der Aufsatz konzentriert sich auf die mittelkymrischeRhamant Otuel, die Übersetzungdes französischen Heldengedichts Otinel. Er analysiert die Prologe und ihre epischen Elemente sowie Erweiterungen durch neue Beschreibungen von Figuren. Dabei zeigen sich un-terschiedliche Antworten auf die Vorlage, die von Reproduktion bis Umarbeitung reichen. Sie ermöglichen wertvolle Einblicke in die sprachliche Kompetenz des Übersetzers, seine Kreativität und seine Interessen und in die Interessen des Publikums. Die Übersetzung gibtauch Hinweise auf walisische Einstellungen zu Otinel-Traditionen innerhalb der insularen Rezeption des Stoffkreises um Karl den Großen.
This paper examines supernatural episodes in the story of the Knight of the Lion. The story has closely related versions in French (Yvain, ou le Chevalier au Lion) and in Welsh (Owein: Chwedyl Iarlles y Ffynnawn), which allow for analysis and comparison. Even without assuming which author wrote first, we can still study how each text was adapted differently for audiences in Wales and France. This essay finds eleven episodes across both texts (eight in Yvain and nine in Owein). We categorise the supernatural in these episodes as mirabilia, magicus or miraculosus, after Le Goff, Kieckhefer and Sweeney. Our final analysis shows that miraculosus dominates in the French version, presumably due to a Christianising urge of Chrétien de Troyes which emphasises the agency of God in the text. This is not the case in the Welsh version where mirabilis episodes dominate, and the supernatural elements are kept separate from the religious aspects of the text. This analysis suggests that Welsh audiences were more comfortable with secular episodes of the supernatural than French audiences.
This paper examines supernatural episodes in the story of the Knight of the Lion. The story has closely related versions in French (Yvain, ou le Chevalier au Lion) and in Welsh (Owein: Chwedyl Iarlles y Ffynnawn), which allow for analysis and comparison. Even without assuming which author wrote first, we can still study how each text was adapted differently for audiences in Wales and France. This essay finds eleven episodes across both texts (eight in Yvain and nine in Owein). We categorise the supernatural in these episodes as mirabilia, magicus or miraculosus, after Le Goff, Kieckhefer and Sweeney. Our final analysis shows that miraculosus dominates in the French version, presumably due to a Christianising urge of Chrétien de Troyes which emphasises the agency of God in the text. This is not the case in the Welsh version where mirabilis episodes dominate, and the supernatural elements are kept separate from the religious aspects of the text. This analysis suggests that Welsh audiences were more comfortable with secular episodes of the supernatural than French audiences.
In this study we seek to present a survey of the set of processes involved in the translation into Middle Welsh of La chanson de Roland, known as Cân Rolant. The text is based on a late twelfth or thirteenth century Anglo-Norman version in assonant verse. It is very close to the Oxford version (Bodleian Library, ms. Digby 23), but also presents some traces of the Venice 4 version (Biblioteca Nazionale Marciana, Fr. Z.4). Since it is possible to employ the Oxford Roland as the source-text for comparative purposes, we will focus on the micro-textual level, i.e. lexical change, style and syntax, leaving aside the macro-textual level of the story. The methodology employed is mainly based on the conceptual frame of Descriptive Translation Studies (DTS), especially the notion of translation as a socio-cultural event and as product and process, at the same time source-oriented and target-oriented. Therefore, after some preliminary remarks about the generic shift and the unit of translation, we will describe and explain a group of translational procedures. We will thus discuss: 1) Techniques of translation of lexical items: substitutions (predictable, unpredictable, calques), circumlocutions and adoptions; 2) Syntax; 3) Style: terms of address and politeness, and greetings. The analysis will show that, while accommodating the source-text to his target language and literary conventions, the translator created an individual style.
In this study we seek to present a survey of the set of processes involved in the translation into Middle Welsh of La chanson de Roland, known as Cân Rolant. The text is based on a late twelfth or thirteenth century Anglo-Norman version in assonant verse. It is very close to the Oxford version (Bodleian Library, ms. Digby 23), but also presents some traces of the Venice 4 version (Biblioteca Nazionale Marciana, Fr. Z.4). Since it is possible to employ the Oxford Roland as the source-text for comparative purposes, we will focus on the micro-textual level, i.e. lexical change, style and syntax, leaving aside the macro-textual level of the story. The methodology employed is mainly based on the conceptual frame of Descriptive Translation Studies (DTS), especially the notion of translation as a socio-cultural event and as product and process, at the same time source-oriented and target-oriented. Therefore, after some preliminary remarks about the generic shift and the unit of translation, we will describe and explain a group of translational procedures. We will thus discuss: 1) Techniques of translation of lexical items: substitutions (predictable, unpredictable, calques), circumlocutions and adoptions; 2) Syntax; 3) Style: terms of address and politeness, and greetings. The analysis will show that, while accommodating the source-text to his target language and literary conventions, the translator created an individual style.
