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Nóra Fodor DIE ÜBERSETZUNGEN LATEINISCHER AUTOREN DURCH M. PLANUDES

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Nóra Fodor DIE ÜBERSETZUNGEN LATEINISCHER AUTOREN DURCH M. PLANUDES Nóra Fodor DIE ÜBERSETZUNGEN LATEINISCHER AUTOREN DURCH M. PLANUDES 4 VORWORT Beim Abschluss dieser Arbeit gilt mein Gedenken an erster Stelle Herrn Prof. Hubert Petersmann, der mich im Jahre 2000 als Doktorandin annahm und die ersten Arbeitsschritte begleitete. Als die Arbeit durch seinen tragischen Tod verwaiste, übernahm sie zuerst Prof. Angelos Chaniotis, später dann als Erstgutachterin Frau Prof. Catherine Trümpy, deren intensive Betreuung ich dankbar in Erinnerung behalte. Ich möchte auch PD Karin Metzler danken, die mich in byzantinischen Fragen beriet und auch das Druckmanuskript gelesen hat. Herr Prof. Géza Alföldy und Herr Prof. Miklós Maróth begleiteten die Fortschritte der Arbeit von Anfang an mit großem Wohlwollen und vielen hilfreichen Hinweisen. Auch in Heidelberg erfuhr ich mannigfaltige Unterstützung: Dankbar möchte ich Dr. Francisca Feraudi-Gruenais, Dr. Brigitte Ruck und Daniela Quade nennen. Während all der Jahre, die ich in Heidelberg an der Dissertation arbeitete, genoss ich die Unterstützung meiner Alma Mater, der Péter Pázmány Katholischen Universität, Budapest – Piliscsaba, nicht zuletzt aber gilt mein Dank den Institutionen, die die Arbeit finanziell unterstützten: der Graduierten Förderung der Karl Ruprecht Universität Heidelberg und der Magyar Ösztöndíj Bizottság (Eötvös József Kutatói Ösztöndíj im Jahre 2000 und Stipendium nach dem Landesgraduiertengesetz von 2001 bis 2003). Gewidmet sei diese Arbeit meiner Familie, der ich für ihre Förderung und Unterstützung zu grösstem Dank verpflichtet bin. 5 6 INHALTSVERZEICHNIS I. Einleitung . 11 1. Allgemeines und Zielsetzung . 11 2. Maximos Planudes – eine Kurzbiographie . 14 2. 1. Offizierskarriere - im kaiserlichen Scriptorium . 16 2. 2. Planudes: der Philologe und der Lehrer . 18 2. 3. Das Corpus der Übersetzungen des Planudes . 21 3. Die Rezeption der lateinischen Literatur in Byzanz . 24 3. 1. Lateinstudium und Latinität bis ins 9. Jh. 25 3. 2. Die Zeit vom 9. bis zum 12. Jh. 29 3. 3. Die Palaiologen-Ära . 33 II. Die Übersetzung der Heroiden . 41 1. Die bisherige Forschung . 41 2. Der Codex Planudeus – die lateinische Vorlage der Übersetzung 2. der Heroiden . 43 3. Die handschriftliche Überlieferung unter besonderer 1. Berücksichtigung des Codex Venetus . 59 4. Allgemeine Gedanken zur Übersetzung . 62 5. Die Textstruktur . 64 6. Epigramm–Einlagen . 67 7. Beobachtungen im grammatischen Bereich . 68 7. 1. Wechsel der Wortarten und des Numerus . 68 7. 2. Flexionsformen – Korrektes und Unkorrektes . 71 7. 3. Die Entsprechungen der ablativischen Konstruktionen . 74 7. 4. Die Entsprechungen des Gerundiums und der Gerundivkonstruktionen . 78 7. 5. Hypotaktische Satzkorrelationen . 79 7. 5. 1. Subjekt und Objektsätze . 79 7. 5. 2. Relativsätze . 81 7. 5. 3. Konzessivsätze . 82 7. 5. 4. Konsekutivsätze . 83 7. 5. 5. Konditionalsätze . 84 7. 5. 6. Temporalsätze . 84 7. 5. 7. Finalsätze . 86 7. 5. 8. Kausal- und Vergleichssätze . 87 7 8. Beobachtungen zum Stil . 88 8. 1. Der Wortschatz . 88 8. 2. Die Expressivität . 91 8. 3. Die von stilistischen Gestaltungsprinzipien motivierten 8. 3. Modifikationen . 93 9. Beobachtungen zum Inhalt . 96 9. 1. Auslassungen einiger Ausdrücke und Lakunen im Text . 96 9. 2. Interpretierende Übersetzungsmethode . 97 9. 3. Intertextualität, idiomatische Formulierung und Gnomen . 99 9. 4. Die zensierten Zeilen . 101 9. 5. Gottheiten und Begriffe, die spezifisch römische Werte ausdrücken . 102 9. 6. Juristische Terminologie . 105 9. 7. Astronomische und geographische Bezeichnungen . 107 9. 8. Die mythologischen Details . 107 9. 9. Die lexikalischen Fehler . 109 10. Die lateinische Vorlage und das byzantinische Adaptationsfeld 10. – die Adaptierbarkeit der Kunstbriefe Ovids . 112 10. 1. Ein Adaptationsfeld für die ovidianischen Kunstbriefe – Die 10.1 . Deklamationes der Ethopoiien . 117 10. 2. Die Gattung der mimetischen Fiktivbriefe in Byzanz . 119 11. Das Corpus der griechischen Randbemerkungen . 123 11. 1. Die kurzen exegetischen Bemerkungen . 123 11. 2. Die Randotizen des Demetrios Triklinos . 125 11. 3. Das Corpus der Randnotizen . 128 12. Die westliche Rezeption der Übersetzung . 133 13. Zusammenfassung der Untersuchungsergebnisse . 137 14. Ausgewähltes Beispiel: der Medea-Brief (Ep. 12, 1-88) . 139 14. 1. Die Struktur des Medea – Briefes . 140 14. 2. Der Text . 142 14. 3. Kommentar zum Text . 150 III. Die übrigen Teile des Corpus der planudeischen Übersetzungen . 177 1. Die Übersetzung von Somnium Scipionis Ciceros und des 1. zugehörigen Kommentars von Macrobius . 178 1. 1. Die lateinische Vorlage . 178 1. 2. Die Übersetzung des Somnium Scipionis . 182 1. 2.1. Cicero in Byzanz . 182 1. 2.2. Der Charakter der griechischen Übersetzung des 1. 2.2. Somnium Scipionis . 183 2 . Die Übersetzung des Kommentars von Macrobius ad Somnium Sciponis . 187 8 2. 1. Die Rezeption der Übersetzung des Dialoges und seines 2. 1. Kommentars . 194 2. 1.1. Die griechischen Scholien zur Übersetzung des Korpus . 194 2. 1.2. Die westliche Rezeption der griechischen Übersetzungen . 195 3. Die Consolatio Philosophiae . 197 3. 1. Der Dialog im Abendland bis zur byzantinischen Adaptation . 197 3. 2. Boethius in Byzanz . 199 3. 3. Die griechische Übersetzung . 200 3. 4. Das griechische Scholiencorpus . 208 3. 5. Die Rezeption der Übersetzung. 210 4. Die Übersetzung der Disticha Catonis . 211 4. 1. Das lateinische Original . 211 4. 2. Die Gestalt Catos in Byzanz . 212 4. 3. Die griechische Übersetzung . 215 4. 4. Die Rezeption der planudeischen Übersetzung . 220 5. Die unsicheren Teile des Corpus . 222 5. 1. Die griechische Übersetzung der Carmina Amatoria . 222 5. 2. Die Übersetzung der Verse Juvenals . 227 IV. Zusammenfassung . 231 V. Appendices . 237 1. Appendix zur handschriftlichen Tradition - Codex Marcianus . 237 2. Appendix zur syntaktischen Analyse. 244 3. Appendix zum Wortschatz . 285 4. Appendix zur stilistischen Analyse – Figuren und Tropen . 288 5. Die hellenistischen Zwischenglieder als griechische Quellen 5. Ovids und die planudeische Fassung . 293 Literaturverzeichnis . 301 Namenregister . 339 9 10 I. EINLEITUNG 1. Allgemeines und Zielsetzung Übersetzen bedeutet zugleich auch Textbearbeitung, wobei individuelles Interesse, interpretatorische Finesse und nicht zuletzt auch der jeweilige Erwartungshorizont des Zielpublikums dominierende Faktoren sind. Wenn nämlich der Übersetzer sein Original wirkungsvoll vermitteln will, muß er seine Vorlage gemäß der gezielten Textfunktion seiner Übersetzung dem jeweiligen Erwartungshorizont anpassen. Daher bietet sich die Übersetzung als ein interessanter Gegenstand für eine Textanalyse an, wobei der Ausgangstext bzw. die Art und Weise der Textvermittlung unter verschiedenen Aspekten ausgewertet werden kann. Über die lateinische Tradition der Werke Ovids seit der Antike bis auf die karolingische Periode weiß man wenig. Die früheste Handschrift, die die Metamorphosen vollständig tradiert, stammt erst aus dem 11. Jh.. Von.
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