62 research outputs found

    Translation Practice in Early Modern Europe: Spanish Chivalric Romance in England

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    This thesis analyses the English versions of Spanish chivalric romance as examples of translation practice in early modern Europe. It focuses specifically on three works: Margaret Tyler’s "The Mirror of Princely Deeds and Knighthood" (c. 1578), a translation from Book I of the Spanish romance "Espejo de Príncipes y Caballeros" (1555) by Diego Ortúñez de Calahorra; Anthony Munday’s "Palmerin D’Oliva" (1588), Parts I and II, a translation from the French "L’Histoire de Palmerin D’Olive" (1546), which Jean Maugin had translated from the anonymous Spanish romance "Palmerín de Olivia" (1511); and Books I to IV of Anthony Munday’s "Amadis de Gaule" (1590-1619), all translated from the first four books (1540-1544) of the French "Amadis de Gaule" series, translated by Nicolas Herberay de Essarts from the Spanish "Amadís de Gaula" (1508) by Garci Rodríguez de Montalvo. I analyse the way in which Tyler and Munday use their translation practice to reflect or comment on aspects of their contemporary culture. I examine the way that the translators’ modifications work next to their literal translation. Through a comparative study between the translations and their sources, I focus specifically on how both translators draw attention to the topics of marriage and sexuality in their texts. I also analyse in particular Tyler’s treatment of the classical material in her source and Munday’s attention to the topic of religion. In this respect, this thesis fills particular gaps in the knowledge of literal translations and of early modern romance. Moreover, it widens the scope for exploring the figures of Margaret Tyler and Anthony Munday, showing that the gendered aspect of the former’s translation is only one aspect of her practice and that the latter’s work is more complex than has commonly been assumed

    'Properer Men': myth, manhood and the Trojan war in Greene, Shakespeare and Heywood

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    Images of the Female Countenance in Renaissance Literature

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    In her article "The politics of gender" Elaine Hobby gives a clear image of the confusion evoked in modern mentality by the juxtaposition of Renaissance literature and history. The romantic scenes portrayed in the wonderland of Renaissance poetry seem uncompromisable with the bare facts of historical record. As we contemplate the shadows obscuring the male permeated poetic language of the age however, we do discern spots of light illuminating the overall picture. The age has its own logic and its own language and although neither may be wholly appealing to the modern palate, both are, within their own historical framework, unequivocal and self-consciously assertive

    The anatomy of ambiguity : interpreting John Lyly’s "Euphues"

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    The seal of innocence: fragments on virginity, love, and marriage in Lucić\u27s Robinja (The Slave)

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    This paper examines how fragments of the discourse on virginity, love, and marriage make up the structure of Lucić\u27s drama. The emphasis is placed on the elements of different conceptualizations of virginity, while the importance of textual experiences belonging to various types of literature (romance and hagiography) is also taken into account. In addition, special attention is given to how these topics are treated in criticism

    The seal of innocence: fragments on virginity, love, and marriage in Lucić\u27s Robinja (The Slave)

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    This paper examines how fragments of the discourse on virginity, love, and marriage make up the structure of Lucić\u27s drama. The emphasis is placed on the elements of different conceptualizations of virginity, while the importance of textual experiences belonging to various types of literature (romance and hagiography) is also taken into account. In addition, special attention is given to how these topics are treated in criticism

    Paratesti e cornici nelle raccolte di novelle italiane e inglesi dal Trecento al primo Seicento

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    Questa tesi di dottorato analizza, contestualizza e propone un\u2019interpretazione dell\u2019impiego di paratesti e cornici nelle raccolte di novelle italiane e inglesi scritte tra la met\ue0 del Trecento e il primo Seicento. Gli autori di opere novellistiche hanno utilizzato paratesti e cornici in modi diversi, dando prova delle numerose funzioni rivestite da questi testi liminari: alcune raccolte presentano soltanto paratesti di varia tipologia (lettere di dedica, conclusioni d\u2019autore, prologhi), mentre altre sfruttano, oltre ai paratesti, anche una cornice o storia portante, incentrata sulle vicende di un gruppo di personaggi che si raccontano le novelle di cui \ue8 formata l\u2019opera. Molti studiosi si sono dedicati allo studio della cornice in contesto italiano; poco, tuttavia, \ue8 stato scritto in prospettiva comparata, guardando ad uno tra i Paesi europei maggiormente influenzati dalla novella italiana: l\u2019Inghilterra. Le indagini dedicate alla diffusione della novellistica italiana nel mondo inglese, infatti, si sono spesso focalizzate sulla ripresa di trame e motivi narrativi, mentre il ruolo dei testi liminari \ue8 stato sottovalutato o trascurato. Va aggiunto, inoltre, che le stesse raccolte di racconti di et\ue0 elisabettiana e giacomiana sono state spesso percepite come semplici bacini di raccolta di storie riadattate dal teatro dell\u2019epoca. Eppure esse dimostrano un uso consapevole e ben calibrato di cornici e paratesti, che svelano a loro volta sia significativi punti di contatto sia innovative divergenze rispetto ai modelli italiani. Paratesti e cornici, infatti, sono elementi tutt\u2019altro che accessori nell\u2019economia delle opere di appartenenza, tanto italiane quanto inglesi: i primi, in particolare, costituiscono il luogo privilegiato in cui vengono illustrati i progetti dell\u2019autore e il suo rapporto con il pubblico e veicolano informazioni di carattere ideologico e culturale in merito alla composizione delle novelle. Le seconde suggeriscono specifiche visioni del mondo, che rivelano quali posizioni autoriali soggiacciano alla costruzione della finzione narrativa. Una prima parte della tesi \ue8 costituita dall\u2019analisi dei paratesti attraverso motivi ricorrenti, ossia l\u2019illustrazione di fonti e modelli, l\u2019esposizione dello scopo dell\u2019opera, la determinazione del pubblico. Segue una sezione espressamente dedicata allo studio delle cornici: essa ha lo scopo di verificare il ruolo che gli autori italiani e quelli inglesi hanno attribuito alla brigata dei novellatori. Da un lato, quest\u2019analisi di paratesti e cornici permette di valutare l\u2019evoluzione della tradizione novellistica nei due diversi Paesi, svelando la consapevolezza dei diversi scrittori in merito al loro rapporto con i predecessori e alle specifiche caratteristiche del genere impiegato. Dall\u2019altro, la prospettiva comparata adottata in questa ricerca consente di gettare luce sulle specifiche relazioni esistenti tra il genere novellistico italiano e la raccolta di racconti inglese. Vengono, infatti, contestualizzate e motivate affinit\ue0 e divergenze nel rapporto tra gli autori-modello e i loro epigoni, mettendo in risalto le peculiarit\ue0 dovute a specifici contesti storico-culturali: il vivace mercato editoriale inglese di et\ue0 elisabettiana e giacomiana ha, infatti, condizionato in maniera considerevole la ricezione della novella italiana e il suo specifico riadattamento.This PhD thesis analyses, contextualises, and offers an interpretation of the employment of paratexts and frame tales in Italian and English collections of novellas written between the mid-fourteenth and early-seventeenth centuries. Writers of novellas used paratexts and frame tales in different ways, displaying the multifarious functions of these liminal texts: some collections of novellas employed only paratexts (letters of dedication, authorial conclusions, prologues), while others exploited both paratexts and a frame tale. The latter is the story of a group of characters who tell each other the novellas making up the collection. Italian frame tales have received much critical attention, and yet no substantial combined inquiry of Italian and English examples has been carried out to date, even though England has been deeply influenced by the Italian novella tradition. Academic studies on the reception of Italian novellas in England are often exclusively focused on the way English imitators appropriated and recast Italian plots, while the framing devices are usually overlooked, or even neglected. Moreover, Elizabethan and Jacobean collections of tales have often been considered only as plot sources for contemporary playwrights. Nevertheless, they reveal a conscious use of paratexts and frame tales, which show both similarities and innovative differences compared with their Italian antecedents. Indeed, paratexts and frame tales play a seminal role in the Italian and English collections of tales: the former foreground the pragmatic context of the author-reader communication, suggesting the cultural, ideological, and circumstantial factors affecting the composition of the novellas. The latter convey specific worldviews drawing the boundaries of the ideological perspective behind the construction of their narrative world. The first part of the thesis is centred on the analysis of recurring topics in the paratexts: from the definition of sources and models, to the explanation of the aims of the novellas collections, to the choice of the reading public. The following section is specifically devoted to a discussion of the frame tales, aiming to illustrate which role the groups of narrators were given by their Italian or English authors. On the one hand, this research on paratexts and frame tales assesses the evolution of the novella tradition in Italy and England, revealing the authors\u2019 awareness of both the authority of their predecessors and the specific characteristics of the genre they employed. On the other hand, thanks to its comparative approach, this thesis provides an insight into the peculiar relations between the Italian novella tradition and English collections of tales. It identifies and explains affinities and differences between Italian models and English imitators, highlighting the peculiarities connected to specific cultural and historical backgrounds. Indeed, the dynamic Elizabethan and Jacobean publishing industry deeply influenced the reception of Italian novellas in England and their reshaping

    Picturing women in Urania by Mary Wroth and Clelie by Madeleine de Scudery

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    My parallel reading of two seventeenth-century romances by two women, one English, one French, aims to illumine the early modern mapping of womanhood from a female perspective. Part one examines the discourse of virtuous women in the patriarchal societies of Urania and Clélie. Adopting an approach based on close stylistic analysis, I explore, on the one hand, the extent to which the marriage topos endows or does not endow these women with speech and power, and on the other the extent to which the marriage topos enables the utterance of a protofeminist discourse. While the marriage topos initially allows us to visualise these women as daughters, sisters, mothers and wives, it gradually unveils women not only as the apologists of true love, but also as androgynous heroines in the male-authored domain of politics. Having discussed the discourse (mostly oral) of Uranian and Scuderian heroines in the context of a society functioning on the basis of political alliances, I move on to analyse ‘The loci of the feminine’, i.e. the configuration of female spaces in two texts. This analysis is developed in parts two and three of this thesis. The first part begins by examining the cultural milieux of Mary Wroth and Madeleine de Scudéry, and explores some of the evidence regarding the possible existence of an early modern English equivalent of French ‘salons’. This chapter measures the extent to which Urania and Clélie might be constructed as illustrations of the highly intense activities of Wroth’s and Scudéry’s literary circles. The next chapter focusses on the Uranian and Scuderian fictionalisation of a predominantly female community. Part three assesses the ways in which these texts seem to inscribe themselves within a protofeminist project of re-evaluating female legacy and authorship in the realm of letters, and proceeds to explore more specifically the representation of literary creativity in Urania’s and Clélie’s female retreats. My final part examines the subject of the thesis in its literal sense, by analysing Wroth’s and Scudéry’s representations of the female body, and relates- where appropriate- images of women in Urania and Clélie to those found in the visual arts of the early modern period, such as emblems, engravings, paintings and masques
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