the c-word

Translating rape in “Flamenca” (2)

In the previous post, we saw how the rape of Flamenca was read and written by several translators: from a mysterious medieval hand behind a marginal manicule, to translations published over the last ten years. That is: how, in the narrow and broad senses, her rape was “translated.” This second post looks at how rape was translated out of Flamenca: going beyond the usual senses of translation that include transposition, movement to a different place, away from one language and culture and into another; this translation is one of displacement and removal. Flamenca’s rape is translated out of existence. (more…)

Translating rape in “Flamenca” (1)

Welcome to the first of a set of posts about translation, about scholarly editions as translations, about editorial decisions being individual ethical decisions made by people in a cultural context, and about scholarly responsibility and responsible scholarship. And about the 13th-century Occitan Romance of Flamenca. (more…)

Once upon a time, there were many Flamencas …

Once upon a time, there were many Flamencas. All of them had a kernel of narratio fabulosa truth in common.

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“judici d’amor e razos de trobar” (literally) translated to 2019, respectful workplaces, and fictional chatbots

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Notes: on medieval poetic community and marvellous / uncanny strangeness

Oez merveilluse aventure
Cum genz sunt d’estrange nature

(Thomas, “Le Mariage de Tristan” ll. 234-35)
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