Cultural Transfer Studies

This volume is a collection of studies that examine various aspects of translation studies. It addresses theoretical issues, the practice of translation, and its historical dimensions, thereby offering an overview of the interdisciplinary nature of translation. As supplementary course material for classes in translation theory and translation practice, the volume aims to stimulate students’ interest in the many facets of literary translation, while contributing to their professional development and expanding their knowledge of translation studies.

En este trabajo me propongo volver sobre un género filosófico particular, la utopía, para mostrar la existencia de verdaderas reflexiones político-filosóficas en los escritos de una mujer de la segunda mitad del siglo XVII francés, Madeleine de Scudéry. En primer lugar, es necesario considerar que esta autora es representante del preciosismo sobre el que es necesario hacer una referencia como verdadero movimiento de reivindicación de derechos para las mujeres. Por otro lado, es indispensable como parte de esta recuperación de otras voces dar cuenta de los géneros literario que eligieron para expresarse. Scudéry fue escritora de novelas, considerada la autora de la primera novela moderna, pero otras, muchas otras, escribían cartas o manuales de comportamiento. Esto significa que el intercambio intelectual y la reflexión filosófica no se reducía en la época a los tratados o publicaciones científicas en actas de asociaciones o revistas especializadas y que, por tanto, debemos ampliar el repertorio de textos donde buscar la filosofía.

This chapter examines the early encounters between Japanese Buddhism and Western Theosophy through the metaphor of a “distorted lens,” highlighting how nineteenth-century Western classifications—particularly the dichotomy of Esoteric versus Exoteric Buddhism—shaped mutual misunderstandings. Japanese reformers initially embraced Theosophy as a global platform for promoting Mahayana Buddhism, unaware that Theosophists such as Blavatsky and Judge sought occult wisdom in “Esoteric Buddhism,” often identified with Tibetan or Zen traditions. These expectations clashed with the institutional and communal orientation of Japanese Buddhism, which prioritized ethical order over mystical knowledge. Figures like Ryokuin Matsuyama and Charles Pfoundes facilitated early dialogue, but Japanese Buddhists later turned to Western academia for legitimacy, disavowing their Theosophical ties. The 1893 World Parliament of Religions exposed this disconnect, as Japanese representatives failed to meet Western desires for personal spiritual liberation. The episode reflects how Western esoteric expectations and Orientalist schemata deeply influenced the modern representation and reception of Japanese Buddhism.

Das Dissertationsprojekt untersucht die Rezeption und Transformation der orientalischen Fabelsammlung Kalila wa Dimna im intellektuellen und literarischen Kontext der deutschen Aufklärung, mit besonderem Fokus auf Gotthold Ephraim Lessing. Ursprünglich aus einer indo-iranischen Tradition hervorgegangen und über mittelpersische und arabische Bearbeitungen überliefert, stellt Kalila wa Dimna ein vielschichtiges Korpus moralischer, politischer und didaktischer Erzählungen dar, dessen europäische Rezeption bislang weder aus moralphilosophischer noch aus gattungstheoretischer Perspektive hinreichend untersucht worden ist. Während sich die bisherige Forschung überwiegend entweder auf die orientalischen Ursprünge von Kalila wa Dimna oder auf die Entwicklung der Fabelgattung in Europa konzentriert hat, bleibt eine systematische Analyse seiner Rezeption innerhalb der moralphilosophischen Diskurse der deutschen Aufklärung-insbesondere im Zusammenhang mit der Naturrechtstheorie von Christian Wolff-ein deutliches Desiderat.

setz über Investitionen und Landbesitz in Italien befolgt werden sollte, obwohl es jahrzehntelang ignoriert worden war (und nach Überwindung der Krise auch wieder schrittweise ignoriert wurde). Daniel K. Knox fragt, ob die Goten in der Spätantike Söldner waren. Er beschäftigt sich zunächst mit der Definition des Begriffs, dann mit dem Markt für Söldner in der Spätantike und mit der Frage, wie man sie anhand früherer Definitionen identifizieren kann. Schließlich untersucht er den Fall der pannonischen und thrakischen Goten und kommt zu dem Schluss, dass Erstere eindeutig Söldner waren, während der Sachverhalt bei Letzteren weniger eindeutig ist. (Aus dem Englischen übersetzt von Uwe Walter) Björn Forsén / Antti Lampinen (Eds.), Oriental Mirages. Stereotypes and Identity Creation in the Ancient World. Stuttgart, Steiner 2024. 341 S., € 62,-.

The book Designing Transformation: Jews and Cultural Identity in Central European Modernism offers a contemporary scholarly perspective on the role of Jews in shaping and coproducing public and private, as well as commercial and socially oriented, architecture and design in Central Europe from the 1920s to the 1940s, and in the respective countries in which they settled after their forced emigration starting in the 1930s. It examines how modern identities evolved in the context of cultural transfers and migrations, commercial and professional networks, and in relation to conflicts between nationalist ideologies and international aspirations in Central Europe and beyond.  The overarching thesis in this anthology is that the cultural identities "Central European" and "Jewish" were far from homogenous constructs and yet were critically related to each other; furthermore, it posits that these identities were newly reconfigured according to changing political conditions, social agendas, public discourses, and cultural networks in the interwar period.  In order to understand the richness and complexity of the relation between Jews and cultural identity in Central European Modernism, we reconsider here how Jewish perspectives developed and further passed from one generation to another and from one cultural network to another in manners that stimulated creativity, granted meaning to artistic expressions, and contributed to cultural renewal of their cities. This anthology offers, for the first time, in-depth insight to the subject of Jewish participation in shaping and coproducing Central European Modernism.

Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra solo puede ser realizada con la autorización de sus titulares, salvo excepción prevista por la ley. Diríjase a CEDRO (Centro Español de Derechos Reprográficos) si necesita fotocopiar o escanear algún fragmento de esta obra (www.conlicencia.com; 91 702 19 70 / 93 372 04 97)

El objetivo de este capítulo es examinar las obras de autoría femenina incluidas en el catálogo de la biblioteca de las trinitarias de Nossa Senhora da Soledade de Mocambo (Lisboa) en la segunda mitad del siglo XVIII. Sobre todo, se presta atención a la relevancia en esta colección de las escritoras en castellano, que funcionó como lengua literaria en Portugal hasta bien entrado el Siglo de las Luces. Se constata asimismo la presencia de varias autoras en portugués, entre ellas dos traductoras del francés. De este modo, no solo se pretende contribuir al conocimiento existente sobre las comunidades de lectoras conformadas por las religiosas de la Edad Moderna ibérica, sino también establecer qué modelos de escritora (de diferentes lenguas, orígenes geográfico-culturales, estrategias de autorización de su propio discurso, etc.) se encontraban en sus bibliotecas. De forma paralela, se explora en qué medida estos referentes pudieron ofrecer a las monjas un argumentario versátil frente a los prejuicios imperantes en torno a la capacidad intelectual de las mujeres.

Czy w latach 1980–1981 władze NRD szykowały się do interwencji zbrojnej w Polsce, by powstrzymać rewolucję „Solidarności”? Dlaczego Erich Honecker bał się „polskiej choroby”? W jaki sposób wschodnioniemieckie resorty siłowe pomogły Wojciechowi Jaruzelskiemu w podjęciu decyzji o wprowadzeniu stanu wojennego? „Polski nie oddamy” to analiza polityki Niemieckiej Republiki Demokratycznej w czasie przełomowych wydarzeń w PRL – od strajków sierpniowych po 13 grudnia 1981 r. Autor przeprowadził skrupulatną kwerendę w archiwach, wnikliwej analizie poddał też źródła drukowane. Monografia nie tylko porządkuje dotychczasowe ustalenia badaczy, lecz także znacząco poszerza wiedzę o NRD i najnowszej historii Polski.

Bu araştırmanın amacı, üretken yapay zekâ (ÜYZ) uygulamalarının oluşturduğu görsellerin ikinci dil olarak Türkçe öğretiminde kültür aktarımı bağlamında kullanılabilirliğini incelemektir. Çalışma, nitel araştırma yöntemiyle ve betimsel araştırma modeli doğrultusunda desenlenmiştir. Araştırmada ikisi genel amaçlı ÜYZ (ChatGPT, Gemini) ve ikisi görsel üretim amaçlı ÜYZ (DeepAI, NightCafe) olmak üzere toplam dört uygulama kullanılmıştır. Araştırmada öncelikle tematik bir yapı oluşturularak Türk kültürüne ait on sekiz öge belirlenmiş; belirlenen bu ögelere ilişkin yönlendirmeler ÜYZ uygulamalarına girilmiş ve görseller elde edilmiştir. Veri toplama aracı olarak araştırmacı tarafından geliştirilen Türk Kültürü Görsel Analiz Formu (TKGAF) kullanılmıştır. Elde edilen görseller, alan uzmanı beş akademisyen tarafından bu form aracılığıyla değerlendirilmiştir. Veriler hem nicel hem de nitel analiz teknikleriyle çözümlenmiştir. Frekans ve yüzde analizleri ChatGPT'nin %82,2 ile en yüksek başarıya sahip olduğunu, ardından %70 oranıyla Gemini'ın geldiğini; DeepAI (%11,1) ve NightCafe'nin (%6,7) ise oldukça düşük performans sergilediğini ortaya koymuştur. İçerik analizi sonuçları ise özellikle ChatGPT'nin somut ve nesnel ögelerde güçlü bir performans sergilediğini ancak soyut ve figüratif ögelerde hata eğilimi taşıdığını göstermiştir. Gemini ikinci sırada yer almakla birlikte bazı ögelerde metinsel içerik ve bağlam hataları yer almıştır. DeepAI ve NightCafe ise çoğunlukla yanlış betimleme ve gerçeklikten sapma kaynaklı sorunlarla öne çıkmıştır. Bulgular; genel amaçlı ÜYZ uygulamalarının görsel üretim amaçlı modellere kıyasla kültürel ögeleri daha doğru yansıtabildiğini ancak tüm ÜYZ araçlarının kültür aktarımı bağlamında kullanılmadan önce uzman denetimine ihtiyaç duyduğunu göstermektedir.
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The aim of this study is to examine the potential use of visuals generated by generative artificial intelligence (GenAI) applications in the context of cultural transmission in teaching Turkish as a second language. The study was designed within the framework of a qualitative research approach and a descriptive research design. A total of four applications were used in the study, including two general-purpose GenAI tools (ChatGPT and Gemini) and two GenAI tools designed for image generation (DeepAI and NightCafe). In the first stage of the study, a thematic framework was established, and eighteen elements representing Turkish culture were identified. Prompts related to these cultural elements were input into the GenAI applications, and and corresponding visuals were generated. The data collection instrument was the Turkish Culture Visual Analysis Form (TCVAF), developed by the researcher. The generated visuals were evaluated using this form by five academic experts in the field. The data were analyzed using both quantitative and qualitative analysis techniques. Frequency and percentage analyses revealed that ChatGPT achieved the highest performance rate (82.2%), followed by Gemini (70%), while DeepAI (11.1%) and NightCafe (6.7%) demonstrated notably low performance levels. The results of the content analysis indicated that ChatGPT performed strongly in representing concrete and object-based cultural elements but showed a tendency toward errors in abstract and figurative elements. Gemini ranked second overall, though it exhibited textual content and contextual inaccuracies in some cases. DeepAI and NightCafe, on the other hand, were predominantly characterized by incorrect depictions and deviations from reality. Overall, the findings indicate that general-purpose GenAI applications are more successful than image-generation–purpose models in accurately representing cultural elements. However, the results also highlight that all GenAI tools require expert supervision prior to use in the context of cultural transmission in language education.

The article explores various manifestations of the religious in literature in Polish and Bulgarian humanistic traditions. The comparative approach highlights the significant culturally and religiously motivated differences in the status and understanding of this research subject in both traditions. In fact, this approach problematizes the (Westerncentric) epistemological matrix common to both traditions, defined as the “aesthetics of
representation.” Drawing on the anthropology of religion and on the assumptions of postsecular thought, the author proposes a research approach grounded in a “theology of presence.” The article demonstrates a way of adapting the postsecular approach to the study of the history of ideas and the history of the humanities, raising awareness of the cryptotheological entanglements of literary scholars, and calling for a discussion on literary discourses as significant sources for the study of the history of the concept of “religion” (its use and understanding).

The present article aims to offer a synoptic picture of socialist Romania's relations with African Third World countries during the Ceaușescu regime. Within these relations, economic and geopolitical motivations coexisted along with ideological ones, thus making the topic one of the most interesting and relevant key for understanding Romanian Socialist Republic (RSR)'s complex and cunning international strategy. However, I intend to prove that mere pragmatism is not enough to comprehend the drive behind Ceaușescu's diplomatic efforts in post-colonial Africa; ideological factors need also to be taken into account as well.

Ponencia presentada en las Jornadas Interescuelas de Historia 2024, Rosario, Santa Fe Argentina en la Mesa nº 85: África y Asia: diversas y complejas. Enfoques y debates de su pasado y presente. La representación de China en el imaginario occidental.

L’objectif de cette étude est d’interroger le degré de généralité qu’il est possible d’imputer à la notion de Parnasse ou de poésie parnassienne, dont le statut – en tant que catégorie proprement généralisable – ne va pas de soi. On se propose à cet effet de centrer la réflexion sur la fortune qu’a connue le Parnasse au Brésil sous l’influence de la France. Le caractère proprement général d’une catégorie comme celle de Parnasse est d’emblée problématique, dans la mesure où il s’agit d’une notion historique indissociable d’un contexte particulier : le Parnasse désigne autant, si ce n’est plus, une époque (celle de la fin du xixe siècle en France) qu’un style de poésie fondé sur un réservoir de thèmes et de formes communs. Si le Parnasse n’est pas à proprement parler un nom de genre, il participe néanmoins pleinement – en tant que nom d’un mouvement littéraire – de l’arsenal lexical dont dispose la critique littéraire pour nommer et classer la littérature : il y participe néanmoins selon des modalités ambivalentes qu’il s’agira d’analyser ici en parcourant l’usage qui a pu en être fait dans la critique littéraire brésilienne. Ainsi, bien que l’expression « Parnasse » soit très répandue et intuitivement acceptée dans l’historiographie de la littérature brésilienne telle qu’elle s’est constituée au Brésil de la fin du xixe siècle jusqu’à nos jours, il s’agit ici de revenir sur les conditions de ce sentiment d’évidence : comment est-il possible qu’une catégorie historique – au degré de généralité nécessairement très limité – puisse subsumer d’autres textes que ceux produits dans le contexte sociohistorique qui a vu naître l’expression ?

Within the framework of a cultural studies concept, the article
examines the unique "volume" of a profound exploration of the connection
between society and time. Researchers examine the ways in which writers reflect
the "historical horizon" of the 20th century in a number of works, revealing
the characters of people of the past with beautiful spiritual impulses who strive
to change life in the steppe and open up the surrounding world to their native people. The authors
note that this process, the spiritual rebirth of the steppe people, is reflected
by writers in artistic form.

胸饰是古埃及重要的饰品之一，在古王国时期出现，在中王国得到快速发展，在新王国时期出现了不同的形制。目前发掘出最早的胸饰实物来自拉混(Lahun)地区的西塔哈托尔尤内特公主(Sithathoryunet)公主墓中，可追溯至中王国第十二王朝时期。胸饰中的图像常用各类矿物宝石和金属镶嵌而成，辅以圣书体文字装饰，具有象征性含义。除了装饰作用，胸饰在宗教意义上具有保护佩戴者的功能。
中王国王室胸饰的外观和图像主题实现了显著的发展，出现了多种主题的图像，在胸饰“保护”的基础功能上，中王国王室胸饰更加突出宣扬王权的主题。新王国之后的王室胸饰图像则更加突出丧葬用途与宗教主题。目前已出土的王室胸饰实物较少，本文将以古埃及王室胸饰实物为主要研究对象，首先对胸饰“pectoral” 一词以及其圣书体词汇进行定义，其次介绍胸饰的制造与材料，在此基础上对古埃及各个时期的王室胸饰进行分类研究，解析王室胸饰上常见的图像元素及其象征性含义，探讨古埃及各个时期王室胸饰的发展特征，最后结合时代背景，归纳总结王室胸饰图像发展特点的历史意义。
关键词：古埃及；首饰；王室胸饰；图像研究

Στις 19 Απριλίου 2026 συμπληρώνονται 202 χρόνια από το θάνατο του Λόρδου Βύρωνα και 200 χρόνια από την έξοδο του Μεσολογγίου. Στο άρθρο αναπτύσσεται η ευγνωμοσύνη του Ελ. Βενιζέλου (και της Ελλάδος) για τη θυσία του λόρδου Βύρωνα στο Μεσολλόγγι, στα πλαίσια της Επανάστασης του 1821.

Neste livro baseado nas aulas que Pierre Bourdieu dedicou à "revolução simbólica" encarnada pelo pintor Édouard Manet (1832-1883), o sociólogo francês realiza uma desmistificação sociocientífica inversa àquela comumente apontada em seus trabalhos: em vez de revelar a reprodução de estruturas profundas que subjaz a aparentes mudanças, Bourdieu aponta como radicais transformações estruturais e simbólicas desembocaram em práticas artísticas que um olhar contemporâneo, na medida em que foi moldado pelo sucesso mesmo de tais transformações, percebe como naturais e autoevidentes. Tal desmistificação envolve uma reconstrução detalhada do status quo ante, a arte acadêmica "pompier" no seio da qual Manet se formou, mas contra a qual ele se insurgiu em obras subversivas que contribuíram decisivamente para que o microcosmo social da pintura passasse historicamente de um corpo monopolizado pelo estado a um campo autônomo. No contraste entre "antes" e "depois" da revolução manetiana, Bourdieu elucida os vínculos entre estruturas institucionais externas, de um lado, e as propriedades de conteúdo e forma internas às próprias obras, de outro. Finalmente, contra quaisquer recaídas no mito do "criador incriado", o autor não apenas aponta a convergência de fatores objetivos (morfológicos, técnicos, mercadológicos etc.) que concorreram para o sucesso das iniciativas de Manet, mas também as disposições socialmente adquiridas que o pintor mobilizou em sua empreitada revolucionária.

Cette communication propose d’examiner les pratiques de traduction intralinguale dans l’espace francophone à partir du cas de Burgundy de Mélanie Michaud. Traduire « le français en français », loin de se réduire à une simple opération de reformulation interne au système linguistique (Jakobson), met en évidence les tensions qui traversent une langue pluricentrique mais structurée par de fortes asymétries.
Dans le contexte de la francophonie, la circulation des textes entre différentes aires implique souvent des processus d’ajustement à une norme perçue comme dominante, généralement associée au français hexagonal. À travers l’analyse de Burgundy, la communication examine les modalités selon lesquelles des variétés marquées, comme le français québécois, sont réécrites ou atténuées, en interrogeant les mécanismes de légitimation et de marginalisation linguistique.
L’attention se porte sur les phénomènes d’insécurité linguistique et sur les déséquilibres symboliques et éditoriaux qui orientent ces pratiques, ainsi que sur les stratégies de négociation entre visibilité de la variation et exigences d’accessibilité. Dans cette perspective, la traduction intralinguale apparaît comme un observatoire privilégié du rapport entre norme et variation, et comme un lieu où se rejouent les hiérarchies internes du français contemporain.
📍 Palazzo Venera – Sala Riunioni (Pise)
📅 Mardi 28 avril
⏰ 10h00
Séminaires du Laboratoire de recherche Francophonies itinérantes (Université de Pise)
Organisation : Barbara Sommovigo et Francesco Attruia

La investigación aborda el alcance de la reglamentación eclesiástica y su incidencia en la configuración de la música litúrgica medieval, con especial atención al contexto castellano. A partir del análisis de las Constituciones Toledanas de 1357, promulgadas por Vasco Fernández de Toledo, se examina de qué manera este corpus normativo incidió en la organización del canto litúrgico y en la formación de los músicos eclesiásticos. El estudio revela aspectos poco conocidos sobre la influencia de estas disposiciones en la estructura de la liturgia en la catedral de Toledo y su influencia en otros centros eclesiásticos de la época, estableciendo paralelismos con otras reformas litúrgicas llevadas a cabo en Europa en el mismo periodo.

Ομιλία με θέμα: «“… ἕνα παράδοξον ὄνειρον”. Μια συνομιλία με τη λογοτεχνία του φανταστικού στην αθηναϊκή αρθρογραφία του 1904» στο διεθνές διατμηματικό συνέδριο «Το όνειρο στη λογοτεχνία. Διεπιστημονικές και διακαλλιτεχνικές προσεγγίσεις», που πραγματοποιήθηκε από τη Φιλοσοφική Σχολή (Τμήματα Γαλλικής Γλώσσας, Γερμανικής Γλώσσας και Φιλολογίας) του Εθνικού και Καποδιστριακού Πανεπιστημίου Αθηνών στις 11-13 /12/2025.

A 18. században bekövetkező demográfiai változások hatására jelentős számú cigány népesség vándorolt be a Magyar Királyság területére. A roma populáció eltérő életmódjából fakadó társadalmi konfliktusokat a felvilágosult abszolutizmus időszakában először Mária Terézia igyekezett egységesen, rendeleti úton orvosolni, létrehozva ezzel egy cigány integrációs programot. Ezek a pátensek elsősorban a vándorló életmód felszámolására és a roma népesség letelepítésére, oktatás és munkahelyek biztosítására, a gyermekek többségi társadalomhoz történő felzárkóztatására, valamint az egyenlő bánásmód elvének az implementálására irányult. A jogszabályokat az edukacionalizmus jegyében fogadták el, vagyis az érintett kisebbség nevelése, fejlesztése és a többségi társadalomba való integrációja fontos szempont volt a jogalkotó számára. Bár az absztrakt szinten megjelenő célok humánusnak tekinthetőek a Nyugat-Európában jelen lévő cigány integrációs intézkedésekhez képest, a magyarországi roma lakosság tiltakozása miatt a jogszabályokban lévő intézkedések egyre szigorúbbá és nehezebben végrehajthatókká váltak, ami miatt a felvilágosult abszolutizmus cigánypolitikájának megítélése kettőssé válik. A roma társadalom integrálása kapcsán II. József lényegében elődjének a
politikáját folytatta, ami abban nyilvánult meg, hogy megerősítette és kiegészítette Mária Terézia rendeleteit. Általánosságban azonban az a következtetés vonható le a korszakkal kapcsolatban, hogy nem volt képes az úgynevezett ,,cigánykérdés”
megnyugtató rendezésére.

This volume brings together a selection of the most significant primary sources documenting the relationship between the Byzantine Empire and its Slavic neighbours. Featuring 41 texts in their original Greek, Slavic and Latin, each entry is paired with a modern Greek translation and detailed scholarly commentary.

Wolfgang Wüst, (Bad) Brückenau – Nebenresidenz der Fürstäbte von Fulda, in: Gerhard FOUQUET/ Olaf MÖRKE/ Matthias MÜLLER/ Werner PARAVICINI (Hg.), Residenzstädte im Alten Reich. 1300–1800. Ein Handbuch. Abtl. I: Analytisches Verzeichnis der Residenzstädte, Teil 3: Harm von SEGGERN (Hg.), Südwesten (Residenzenforschung. NF, I, 3), Ostfildern (Thorbecke) 2026, S. 91–96.

Nr. 488  PDF-Eingabe

Though often neglected, amulets on semi-precious stones, including the subclass of "magical amulets," provide important evidence not only for personal religious practice but also, indirectly, for networks of ritual specialists in the cities of the eastern Mediterranean during the Roman imperial period. This article presents six objects found in Asia Minor and held in Turkish collections. Two gems carry rare magical motifs -Isis comforting Harpokrates and Kronos / Saturn on a lion. Two non-magical items are likewise exceptional -Hermes / Mercury crowning Harpokrates and a set of four stones inscribed with an acclamation to Serapis.

Depuis le XVIe siècle, à la suite des premiers contacts entre l’Europe et la Chine, initiés par les missions catholiques, les tentatives d’intégration de caractères chinois dans des textes en alphabet latin se sont heurtées à des obstacles à la fois historiques et techniques : d’une part, la connaissance encore limitée de la langue chinoise ; d’autre part, la faible adaptabilité des techniques typographiques aux spécificités de l’écriture chinoise. L’Italie est parvenue à surmonter ces difficultés au moment de l’essor des études universitaires sur l’Extrême-Orient dans la seconde moitié du XIXe siècle. Les différentes approches et solutions adoptées pour restituer le Chinois dans les textes imprimés — souvent avec des résultats inégaux — se retrouvent dans les publications, notamment à vocation pédagogique et universitaire, de la fin du XIXe siècle et de la première moitié du XXe siècle. On peut citer, par exemple, le recours à la lithographie pour les planches en pleine page présentant des caractères chinois (en particulier dans les publications pédagogiques napolitaines), ainsi que pour les couvertures et les pages de titre ; ou encore l’insertion de caractères chinois en négatif au sein d’un texte en alphabet latin (Annuario della Società italiana per gli studi orientali, numéro de 1974). On a même envisagé de renoncer à la transcription des graphèmes chinois, en optant pour une simple transcription phonétique (« romanisation »). L’aboutissement de ce processus est l’apparition de caractères typographiques dans les publications des deux principaux centres universitaires d’études orientales de l’époque : l’Institut d’études supérieures pratiques et avancées de Florence (Bollettino italiano degli studi orientali et Giornale della Società asiatica italiana) et l’École orientale de l’Université de Rome (Rivista degli studi orientali). Il s’agit d’une évolution non linéaire qui vise à répondre à l’évolution des besoins de communication d’une sinologie nouvelle, moderne et laïque.

Agradezco la invitacion a participar en este evento, que me ha permitido reflexionar sobre el tema propuesto y ordenar mis pensamientos y sentimientos al respecto. En mi presentacion me enfocaré, sobre todo, en el punto de vista historico, pero no he estado en Japon, por lo que me tranquiliza compartir mesa con el embajador del Japon, que podra corregir mis desenfoques.

The subject of this chapter is an interpretation of the spatial distribution of tumuli sites in the north Banat area of Serbia. The chapter focuses on issues of studying the spatial distribution of tumuli in comparison to landscape characteristics. The baseline model is constructed using topographic, pedological, and geological aspects of the landscape combined with the palaeohydrographic reconstruction in the examined area, and the population of the tumuli is used as a reference for the assessment of the random distribution of the tumuli. The chapter attempts to identify patterns in the distribution of tumuli against the period in prehistory.

The paper deals with the question of geographical imaginations of so-called Gallus Anonymus, as prevalent in his chronicle. The author sought to reconstruct the chronicler's mental map of Europe, especially of Sclavonia (Slavonic countries), or, precisely, the concept of space (Raumkonzept) of his work, and the possible sources of his imaginations and knowledge. The author takes under consideration the possibilities of using the geographical data from the Chronicle in solving the controversy on Gallus's place of origin. The conclusion is that, contrary to often-held opinions, the data itself does not allow us to indicate any specifi c place or region of Gallus's birth and/or education.

Marga Minco (1920-2023) wordt terecht beschouwd als een van de belangrijkste Nederlandse stemmen van de Europese Holocaustliteratuur. Bij veel van haar werk kan men zich afvragen hoe het onzegbare te vertellen is. Niet toevallig koos Minco in de meeste gevallen het genre van het kortverhaal of de korte roman oftewel novelle. Ze was een schrijver die met weinig woorden veel vertelde. Dat ze ook voor kinderen schreef, is minder bekend. Al vóór de Tweede Wereldoorlog, tijdens haar schooljaren, schreef ze het kinderboek Slipper wordt keizer, dat echter nooit gepubliceerd werd. 1 Minco publiceerde op 11 december 1940 in het Algemeen Handelsblad het kinderverhaal 'Het leelijke knikkertje werd mooi'. Het werd ondertekend met S. M. Dat waren de initialen van de naam die ze bij geboorte kreeg: Sara Minco. 2 Ook in de jaren vijftig schreef zij korte kinderverhalen in verschillende bladen zoals in De courant Nieuws van den Dag Voor Jong Nederland, Margriet en Olidin. 3 Sommige van haar kinderverhalen ondertekende ze als Marga de Witt. Vanaf 1951 staat gewoon Marga Minco onder haar in andere kranten en boeken gepubliceerde kinderverhalen. Er bestaat ook een hoorspel van haar hand: Jodocus het klokkenmannetje, waarvan alleen bekend is dat het voor de Wereldomroep werd geschreven. Een gedrukte versie is voorlopig niet teruggevonden. Later in 1963 komt het kinderverhaal Kijk ‚ns in de la van haar hand uit en in 1994 ziet de bundel kinderverhalen De verdwenen bladzij het licht. Ook deze twee laatste publicaties zijn van humoristische, absurdistische

Συνέδριο Η ποιητική του τοπίου που οργανώθηκε από την Ελληνική  Εταιρεία Γενικής και Συγκριτικής Γραμματολογίας σε συνεργασία με το Ινστιτούτο Ιστορικών Ερευνών του Εθνικού Ιδρύματος Ερευνών (Αθήνα, 19-22 Ιανουαρίου 2012). Ανακοίνωση με θέμα: «To ηθογραφικό τοπίο στη λογοτεχνία και τη ζωγραφική: Γεώργιος Δροσίνης, Άγγελος Γιαλλινάς».

Romanitas was definitely not an everyday experience in the early Middle Ages. The "romanizing traditions" of the early Middle Ages were less about quasi-linear, continuous transmission of text, objects, and ideas from Antiquity, and more about "disparate imaginings of Rome." "Rome in the mind," to employ Mayke de Jong's bon mot, has not yet drawn the attention of archaeologists working on early medieval Europe, who, like contemporary historians, are more preoccupied with questions of continuity. Key to those questions is the "Carolingian Renaissance." Many scholars take it for granted that the revival of classical learning coincided with a renewed interest in the Roman Empire and, implicitly, Roman history. On a closer look, however, there is very little evidence of a genuine interest in imperial history. One cannot deny the use of spolia from imperial monuments in Rome, the recycling of gems of imperial portraits, and the imitation of those portraits on the coins struck for Charlemagne and his successors. Coin brooches were occasionally made to look like Roman coins, and a gilded fibula from Karlburg contains a solidus struck for Constantius II in 353. But Roman coins were rarely curated and re-employed for Carolingian jewels. By contrast, Roman coins were commonly deposited in Late Avar (eighth-century) graves within the Carpathian Basin. That only Roman coins of a certain age were selected, while others do not appear at all, despite their relative availability, raises very interesting questions about how Roman history was perceived in much later centuries. Patterns of collection strongly suggest that such artifacts were curated, and not simply "discovered" during accidental digging in the area. We will discuss the results of the analysis of coins in terms of their deposition in burials, their relations to gender and age categories, the position in relation to the body and, finally, the associated grave goods. Bringing all those separate strings together, the conclusion will then make the case of material culture being used for the construction of nostalgic projections in the past in a manner strikingly contrasting the "utilitarian" recycling of the Roman past during the so-called "Carolingian Renaissance."

Στις σπουδές της μετάφρασης η συνήθης τακτική ως προς τη μελέτη λογοτεχνικού μεταφράσματος είναι η αντιπαραβολή με το πρωτότυπο κείμενο, ωστόσο θεωρούμε ότι και προηγούμενα μεταφράσματα είναι κείμενα που συχνά λαμβάνει υπόψη του ο εκάστοτε μεταφραστής, σε πολλές μάλιστα περιπτώσεις ένα υπάρχον μετάφρασμα γίνεται ο κύριος λόγος για τον οποίο ένα λογοτεχνικό έργο αναμεταφράζεται. Μέσα από το συσχετισμό με προηγούμενα μεταφράσματα, στην ίδια ή και σε άλλες γλώσσες, μπορούν να αναδειχθούν συγκλίσεις και αποκλίσεις που στοιχειοθετούν τη διαδικασία σύνθεσης του λογοτεχνικού μεταφράσματος, εν τέλει την ποιητική του. Στην παρούσα μελέτη επικεντρωνόμαστε σε αναμεταφράσεις ποιητικών κειμένων της αρχαιότητας, της ελληνικής, της ρωμαϊκής και της ινδικής, από Επτανήσιους ποιητές από το δεύτερο μισό του δέκατου ένατου έως και το πρώτο μισό του εικοστού αιώνα. Μέσω των αναμεταφράσεων αυτών αναδεικνύονται ποικίλες τάσεις ως προς ζητήματα ποιητικής και γλώσσας, μεταφραστικής μεθόδου και πρόσληψης της αρχαιότητας και των λογοτεχνικών κειμένων της. Σε κάποιες περιπτώσεις εκφέρονται μέσω των μεταφρασμάτων ή και μέσω κριτικών κειμένων των μεταφραστών διαφοροποιήσεις ή και αντιρρήσεις ως προς προηγούμενες μεταφράσεις, σε κάποιες άλλες συνεχίζεται και ανανεώνεται κάποια μεταφραστική μέθοδος που εισηγήθηκε προηγούμενος μεταφραστής.

[In translation studies, the most common approach to the analysis of literary translation has been the comparison between a translated text and its original. Yet earlier translations also constitute an important textual horizon for the translator. In many cases, the existence of a previous translation becomes itself the main reason why a literary work is retranslated. By examining the relationship between a translation and earlier translations—whether in the same language or in other languages—it becomes possible to identify convergences and divergences that illuminate the process through which a literary translation is shaped and ultimately reveal aspects of its poetics.

This study focuses on retranslations of ancient poetic texts—Greek, Roman, and Indian—produced by Ionian poets from the second half of the nineteenth century to the first half of the twentieth century. Through these retranslations, a variety of tendencies emerge concerning questions of poetic form and language, translation method, and the reception of antiquity and its literary texts. In some cases, translators explicitly articulate, either within their translations or in accompanying critical writings, their disagreements with earlier translations. In other cases, they continue and renew translation methods previously proposed by earlier translators.]

Στην διαδραστική παράσταση που έγραψε, σκηνοθέτησε και παρουσίασε ο Αλέξανδρος Ραπτοτάσιος στο Λονδίνο την άνοιξη του 2025, η Αντιγόνη μετατρέπεται σε ακτιβίστρια που υπερασπίζεται τα ανθρώπινα δικαιώματα, ενώ οι θεατές καλούνται να πάρουν θέση ψηφίζοντας σε ηθικά και πολιτικά διλήμματα που επηρεάζουν την εξέλιξη της παράστασης, αλλά και τον τρόπο που σκέφτονται οι ίδιοι.

Στο έργο Antigone [On Strike] η Αντιγόνη διεκδικεί τον επαναπατρισμό της αδερφής της απέναντι σε ένα πολιτικό σύστημα που έχει την εξουσία να αφαιρέσει την ιθαγένεια από πολίτες επικαλούμενο θέματα εθνικής ασφάλειας. Η ιστορία είναι εμπνευσμένη από την αληθινή ιστορία της Σαμίμα Μπέγκουμ και άλλες παρόμοιες υποθέσεις με τις «νύφες του ISIS» που έχουν βγει στη δημοσιότητα τα τελευταία χρόνια.

As this volume makes clear, Henry has made many important contributions to art history. One of the most influential is his work on imperial imagery. 1 I offer tribute in the fonn of this chapter, hoping to add to the discussion of one of the most common imperial image types in Byzantium: that of Constantine and Helena. My particular focus is on their depictions -both Byzantine and Mosan -on the Stavelot Triptych, and on the presentation and reception of their images by Western audiences. The Stavelot Triptych is a well-known object, housed in the Morgan Library since its acquisition in 1914 and frequently displayed in museum exhibitions (Figure .1). 2 It is one of the earliest Western triptychs, a f01m generally agreed to derive from Byzantium.3 It is also the earliest surviving reliquary featuring a narrative of the Finding of the True Cross. The patron is identified in the scholarship as Wibald (1098-1158), abbot of Stave lot and Corvey. 5 This attribution is based on compelling, if circumstantial, evidence, linking the triptych with two of Wibald's known commissions, the Retable of St Remaclus, destroyed but preserved in a 1661 drawing, and the Head of Pope Alexander. The date of production of the Stavelot Triptych is generally accepted to be 1155-56, when Wibald unde1took a diplomatic mission to Constantinople on behalf of Frederick I Barbarossa (r. 1152-90). 7 Scholars suggest that it was during this trip that Wibald was presented by the Byzantine court with the two Byzantine reliquaries featured in the central panel of the triptych. In 1972, Joyce Brodsky noted that the Byzantine reliquaries are a 'pastiche', with the Byzantine cloisonne enamel panels removed from their original context, cut down, reassembled and re-set in Byzantine and Mosan frames. 9 In 1980 William * Henry taught me to be disciplined, to strive for prose that eschews poetry in favour of clarity and to

Unsigned review of Making Images Move: Photographers and Avant-Garde Cinema notes  that few theorists have theoretically analyzed the differences between the media of film and photography, and that this book offers fascinating examples of crossover artists