Югоизточна Европа през вековете: социална история, езикови и културни контакти. Сборник от Българо-румънската конференция в София, 19-20 юни 2019 г. , 2021
The paper is prompted by a calendar verse dedicated to the actor St Ardalion written by the Byzan... more The paper is prompted by a calendar verse dedicated to the actor St Ardalion written by the Byzantine poet Christophoros of Mytilene (1000–1050). This verse is given in the Bulgarian translation of the Verse Prolog for the summer half of the year after its earliest copy in MS Zogr. 80 (dated to 1345–1360), where the Greek μῖμος is rendered with a derivative of the root мм-. Other Bulgarian counterparts of the Greek word are traced. Besides, a question is raised whether there was theatrical terminology and theatrical context in the Bulgarian Middle Ages. Attention is drawn to the fact that, from a semantic perspective, the medieval Bulgarian lexical correspondences of playing and players on stage are closer to those used even nowadays in the Germanic and, to a certain extent, in the other Slavonic languages, which, most probably, calque the Latin lud-, unlike the derivatives of act- in the Roman languages including Romanian.
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multilayered, and that the masters of the pen are able to activate any of these layers by rhetorical means and to use them for artistic purposes. The more skillful they are, the more difficult it is to translate adnominatio into another language. And when the source text is poetry, its rhythm should also be preserved. Christopher of Mytilene masterfully – and quite often – applied rhetorical figures based on personal names in his dodecasyllabic Orthodox calendar. This poetic cycle entered the tradition of the Verse Synaxarion, was translated in South Slavonic (twice in the 14th century),
and became part of the Slavonic Verse Prologue. The conclusion is that, when impossible to render, etymological fi gures based on names were either transformed into semantic repetitions (as the meanings of some of the Christian names were clear to the Slavonic Christians) or were compensated through the incorporation of etymological repetitions elsewhere in the target text. Whenever possible, names were also included in phonetic repetitions, much more frequently in the target texts than in their source – again as a means to compensate those lost in translation. The activations of the Biblical associations of names were successfully rendered, due to the competence of the audience in this regard, while the Ancient Greek, primarily mythological, layer, was ignored and interpreted in Christian terms.
a tendency towards similar clausulae in the adjacent verses of a distich. Besides, other rhythm techniques are not always preserved in their original places but appear elsewhere in the translations, which shows that the Slavonic interpreters had a competent knowledge of them. And the deviations of the noted tendencies might be a result of the prosaic context of the translations placed in the Slavonic Verse Prolog, while the original was written as a unit of poetry by Christophoros of Mytilene.
Keywords: translation from Greek, poetry, Christophoros of Mytilene, Verse Prolog, rhythm techniques
mosques likewise as churches? What factors lead to reuse (instead of
destruction) of the same temple? And what precisely is the metamorphosis they undergo? How can its signs be defined? Can a sacred place be “inherited?” To what extent is its metamorphosis accepted by the different social strata and religious/ethnic groups who make use of that place (not only worshipers, but also academics, visitors or locals)? Non-functioning churches are still accepted as churches by Christians, just as former mosques are perceived as mosques by Muslims. Despite all the transformations, a given locus remains unchanged in its consideration as numinous in different people’s perception. Sofia’s history, geographico-cultural position and ethno-religious mix make it an intriguing case study.
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multilayered, and that the masters of the pen are able to activate any of these layers by rhetorical means and to use them for artistic purposes. The more skillful they are, the more difficult it is to translate adnominatio into another language. And when the source text is poetry, its rhythm should also be preserved. Christopher of Mytilene masterfully – and quite often – applied rhetorical figures based on personal names in his dodecasyllabic Orthodox calendar. This poetic cycle entered the tradition of the Verse Synaxarion, was translated in South Slavonic (twice in the 14th century),
and became part of the Slavonic Verse Prologue. The conclusion is that, when impossible to render, etymological fi gures based on names were either transformed into semantic repetitions (as the meanings of some of the Christian names were clear to the Slavonic Christians) or were compensated through the incorporation of etymological repetitions elsewhere in the target text. Whenever possible, names were also included in phonetic repetitions, much more frequently in the target texts than in their source – again as a means to compensate those lost in translation. The activations of the Biblical associations of names were successfully rendered, due to the competence of the audience in this regard, while the Ancient Greek, primarily mythological, layer, was ignored and interpreted in Christian terms.
a tendency towards similar clausulae in the adjacent verses of a distich. Besides, other rhythm techniques are not always preserved in their original places but appear elsewhere in the translations, which shows that the Slavonic interpreters had a competent knowledge of them. And the deviations of the noted tendencies might be a result of the prosaic context of the translations placed in the Slavonic Verse Prolog, while the original was written as a unit of poetry by Christophoros of Mytilene.
Keywords: translation from Greek, poetry, Christophoros of Mytilene, Verse Prolog, rhythm techniques
mosques likewise as churches? What factors lead to reuse (instead of
destruction) of the same temple? And what precisely is the metamorphosis they undergo? How can its signs be defined? Can a sacred place be “inherited?” To what extent is its metamorphosis accepted by the different social strata and religious/ethnic groups who make use of that place (not only worshipers, but also academics, visitors or locals)? Non-functioning churches are still accepted as churches by Christians, just as former mosques are perceived as mosques by Muslims. Despite all the transformations, a given locus remains unchanged in its consideration as numinous in different people’s perception. Sofia’s history, geographico-cultural position and ethno-religious mix make it an intriguing case study.