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401.More information
This article examines the struggle between fascists and anti-fascists in the Order Sons of Italy of Ontario, a struggle that began with the keynote speech delivered at the order's founding convention in 1924, and was followed by the election of a fascist as Grand Venerable ten years later, a legal confrontation between the Grand Consul of the Order and the Ontario Lodge of Toronto (that involved the entire membership and, eventually, the Supreme Court of Ontario) and anti-Semitic legislation in the homeland. Italy's loss in the Second World War finally brought the order's flirtation with fascism to an end in 1946.
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Mayan and Andean medicine included empirical perspectives and botanical cures that were transmitted in the urban spaces of colonial Spanish America, spaces themselves built over former Amerindian cities. Mayan and Andean peoples, whose histories included development of both urban and rural aspects of civilization, brought their medical knowledge to the Hispanic cities of the colonial Americas. In these cities, despite the disapproval and persecution of the Inquisition, Native American medicine gradually became part of the dominant culture. As this article will demonstrate, Mayan and Andean medical knowledge was absorbed by the “new cities” that Imperial Spain constructed in the colonial Americas, church disapproval notwithstanding. Cities and urban space became prime conduits for the circulation and incorporation of Native American medical knowledge among the newer Hispanic and mestizo population in the colonial Americas.
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This article argues that The Rime of the Ancient Mariner's curious and much commented on theology is best accounted for by examining it in relation to a shift in religious discourses. The poem evidences a disconcerting shift from a Catholic confessional dynamic to one closer akin to an Evangelical paradigm of testimony. As such, the article begins by accounting for the importance of testimony (and its theological logic) in the Evangelical milieu which spread across Britain during Coleridge's early to middle years. It next examines Coleridge's developing religious thought in relation to Evangelical concepts, pointing to the significance of what J. Robert Bart termed a “balance” between “man's work and God's work in the process of faith; man's will and God's will; rational argumentation and divinely granted revelation; objective evidence and subjective religious experience.” Upon situating Coleridge in relation to Evangelical concepts of witnessing, the article more fully examines The Rime of the Ancient Mariner, focusing on the shift in theological logic that changes a kind of Catholic confessional impulse towards an on-going urge to testimony, finally linking the burning feeling that compels the Mariner's testimony to the Pentecost event as related in the New Testament book of Acts.
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Keywords: Middle East conflict
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407.More information
Elfriede Jelinek's stance towards translation is full of respect: her own experiences as a translator showed her that what she primarily did was “learning by doing.” Jelinek has produced about a dozen translations from English and French into German, mostly drama texts. As an author, she became famous for the innovative and provocative language with which she denounces patriarchal structures, the enduring oppression of women, and the insidious continuation of fascist ideology in Austria and other parts of Europe. Yet her model of literature bluntly opposes her model of translation. She has repeatedly said that as a translator she supports “basically the method of relatively literal translation”—a claim which can be easily proved by looking at her translations.In my paper I will first give an overview of Jelinek's translations (some of which are co-productions with other translators) and present her own views on translation, which will show that she is very much aware of the pitfalls of the translation activity. I will then analyze Jelinek's notion of translation, followed by a short analysis of her translation of Christopher Marlowe's The Jew of Malta. This will be the basis for my discussion of whether her ideas on translation, as expressed in several interviews and speeches, have been put into practice in her translation. It is, however, my assumption that Jelinek does not follow a strict set of translation strategies; rather, she engages intuitively with every new translation project.
Keywords: Elfriede Jelinek, creative turn, author as translator, translatability, Nobel Prize, Elfriede Jelinek, virage créatif, auteur en tant que traducteur, traductibilité, prix Nobel
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408.More information
This article presents the first English translation of any version of Ambrósíus saga og Rósamunda, an Icelandic chapbook translation that survives in 20 manuscripts, the oldest being an abridged version of the narrative in AM 576 b 4to, dated to c. 1700. This abridged and oldest witness is translated here, accompanied by an edition of the early modern Icelandic text. The romance recounts the adventures of the young merchant Ambrosius, his bride Rosamunda, and his friend Marsilius, and includes motifs that circulated widely in pre-modern European literature such as the pound of flesh motif and Whittington’s cat. The text was very likely translated into Icelandic from aDanish chapbook in the latter half of the seventeenth century.
Keywords: early modern, riddarasögur, translation, sagas, manuscripts
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410.More information
This article analyzes and compares representations of the Shoah in the poetic work of a non-Jewish Francophone Quebec writer, Jacques Brault, and two Anglo-Québécois writers of Jewish origin, Irving Layton and Leonard Cohen. Witnessing the Jewish genocide in Europe at one remove, these writers present it indirectly, evoking a complex relationship between feelings of guilt and brotherhood with the victims. The author's purpose is to demonstrate that a process of distancing themselves from their subjects allows Brault, Layton and Cohen to deal with this theme, which has been surrounded by theoretical prohibitions since Adorno's famous statement: “to write poetry after Auschwitz is barbaric”.