Pascual Argente Clara Summer2010.Pdf (4.6MB)

Total Page:16

File Type:pdf, Size:1020Kb

Pascual Argente Clara Summer2010.Pdf (4.6MB) VISIONS OF ANTIQUITY REMEMBERING THE CLASSICAL PAST IN THE CASTILIAN ROMAN ANTIQUE A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Spanish Literature and Cultural Studies By Clara Pascual Argente, M.A. Washington, D.C. June 22, 2010 Copyright 2010 by Clara Pascual Argente All Rights Reserved ii VISIONS OF ANTIQUITY REMEMBERING THE CLASSICAL PAST IN THE CASTILIAN ROMAN ANTIQUE Clara Pascual Argente, M.A. Thesis Advisor: Emily C. Francomano, Ph.D. ABSTRACT The appearance of the Libro de Alexandre and the Libro de Apolonio in the thirteenth-century Castilian literary scene represents the first time in which the key classical narratives about Alexander the Great, the Trojan War, and Apollonius of Tyre are rendered in an Iberian vernacular language. Both works are traditionally studied against the background of the mester de clerecía, a body of Castilian clerical didactic poems often composed in the same metrical form as the Libros and encompassing different genres such as hagiography, epic, or romance. In this study, I read the Libros from a European rather than exclusively Castilian perspective as part of the generic tradition of the roman antique or roman d’antiquité, vernacular romances recounting some of the central narratives inherited from classical antiquity. The romances of antiquity initially took shape in twelfth-century francophone courts but were copied, read, and reworked in almost every Western European language throughout the Middle Ages. My reading stems from a reconceptualization of the roman antique as a genre primarily concerned with the construction of a collective memory of antiquity, a result of its investment in the larger process of cultural homogenization known as the Europeanization of Europe. I argue that memory is central to the Libros not only in the form of the memorable events recounted in the poems but also as a set of mnemonic strategies necessary to remember them, which the Libros offer to their audience as well. The study explores two fundamental rhetorical techniques of the roman antique, iii ekphrasis and anachronism, as they negotiate the interaction between word and image both within the text and on the manuscript page. In this way, I show how the Libros interrogate the visual and verbal means through which a vernacular cultural memory of antiquity, providing a shared past for the courtly elites throughout the continent, could be successfully created, stored, and transmitted. iv ACKNOWLEDGEMENTS This dissertation has been in the making from 1999, when as an undergraduate student I took a course on the Libro de Apolonio taught by Olivier Biaggini. Equally important have been other teachers that, before and after that first encounter with the Apolonio, sparked and maintained my enjoyment of intellectual exchange: Jesús Rodríguez Velasco, Michel Garcia, Jeremy Lawrance, and Lalitha Gopalan have also had an impact on this work. In addition, Simone Pinet and Alejandro Yarza have been extremely patient and generous readers. Most of all, Emily Francomano has not only been a wonderful teacher, advisor, and friend, but also cheerleader and therapist whenever needed. Álvaro Baquero, Jake Cáceres, Sol Miguel-Prendes, Isidro Rivera, Sacramento Roselló and Ana Sáez have (sometimes repeatedly) read or listened to early versions of some chapters and helpfully commented on them. Ricardo Pichel has provided me with bibliographic guidance, as well as with the feeling that someone understood my enthousiasm for some obscure manuscripts. My fellow graduate students, as well as the professors at the Department of Spanish and Portuguese at Georgetown have continuously offered intellectual and moral support for the past six years, without which it would have been impossible to reach this point. During the last few months friends and family have rallied to allow me unlimited time for writing. I am particularly grateful for the time and effort put in by Sagrario Acebes, Pepa Argente, Marta Pascual, and above all Juan Rojo, who has in addition fed me and generally nourished me for quite a few years now. Inés Rojo graciously decided to sleep more or less soundly until I was almost done writing. v The archival research for this dissertation has been supported by a Sigma Delta Pi graduate research grant that allowed me to travel to Spain in the summer of 2008. During that trip, the librarians at the Biblioteca Nacional de España in Madrid and the Biblioteca de San Lorenzo de El Escorial were exceedingly helpful and accomodating. An earlier version of chapter one, also entitled “‘El cabdal sepucro:’ Word and Image in the Libro de Alexandre” will appear in La corónica 38.2 (Spring 2010): 71-98; I am grateful to the editors for their permission to reissue. vi TABLE OF CONTENTS Introduction ....................................................................................................................1 The Libro de Alexandre and the Libro de Apolonio as Mester de Clerecía Poems........3 The Libro de Alexandre and the Libro de Apolonio as Romances of Antiquity ............8 Some Impediments to a Reading of the Libro de Alexandre and the Libro de Apolonio as Romans Antiques................................................................................................... 18 The European Roman Antique and Cultural Memory................................................. 29 Chapter One: “El cabdal sepulcro:” Word and Image in the Libro de Alexandre............ 42 The Persian Tombs: Representational Friction and the Artist as Writer...................... 46 Achilles’s Sepulcher: Words, Images, and Mise en Abyme ........................................ 59 Word, Image, and the Memory of Antiquity .............................................................. 67 Chapter Two: From Precarious to Monumental: Using and Transmitting Cultural Memory in the Libro de Alexandre and the Libro de Apolonio ...................................... 74 “Ornamental Overload” and Monumental Memory in the Libro de Alexandre........... 75 Precarious Memory in the Libro de Apolonio ............................................................ 94 A Monumental Frame............................................................................................ 95 Metanarrative Overload....................................................................................... 102 From Memory to Written Record?....................................................................... 114 Chapter Three: Reconsidering Anachronism in the Castilian Roman Antique .............. 119 Critical Approaches to Anachronism in the Roman Antique..................................... 122 Anachronism and the Creation of Memory Places ................................................... 132 “Cuadros de género” in the Libro de Apolonio..................................................... 136 Remembering through Babylon in the Libro de Alexandre................................... 146 vii A Visual Locus Memoriae: Troy in the Crónica Troyana de Alfonso XI .............. 155 “Common Places” and Collective Memory.......................................................... 161 Conclusion.................................................................................................................. 163 Appendix: Letter granting permission for the use of previously published material ..... 167 Works Cited................................................................................................................ 168 viii INTRODUCTION Around 1350, in the court of king Alfonso XI of Castile, a magnificently illuminated manuscript was being finished. It contained a prose Castilian translation of the still popular Roman de Troie, composed during the mid-twelfth century by Benoît of Sainte-Maure in a different royal court, that of Henry II Plantagenet and his wife Eleanor of Aquitaine. The codex’s beautiful illustrations, a total of seventy, invariably depict the wonderful city of Troy in Mozarabic and Gothic architecture, a look that must have been quite similar to the fourteenth-century towns of the rapidly expanding Castilian kingdom. King Alfonso intended to present his son and heir Pedro with the manuscript, probably in the hope that the valuable lessons of the Trojan story would not be lost on the prince. Alfonso XI did not live to see the manuscript finished—he died in 1350 during the siege of Gibraltar. Nor could he have envisioned that the codex would end up having something of a prophetic quality, since, like Troy, the Castilian kingdom would soon be at war. Pedro would fight and lose a war against his half-brother Enrique de Trastámara, son of Alfonso’s lover Leonor de Guzmán. The manuscript, preserved today with the signature h-I-6 in the Biblioteca de El Escorial, is in many respects an exceptional occurrence in Castilian medieval book culture.1 Its spectacular and comprehensive visual rendition of a secular romance is only comparable to a later codex, the fifteenth-century copy of the Libro del caballero Zifar illustrated for king Enrique IV.2 At the same time, this manuscript, known as the Crónica 1 For more information about manuscript h-I-6 and the main critical essays dealing with it, see chapter three of this study. 2 This codex is located at the Bibliothèque National at Paris under the signature manuscript espagnol 36. Literary scholars have been paying increasing attention to its 1 troyana de Alfonso XI, stands as a perfect
Recommended publications
  • Myth-Making and the Historical Imagination: an Investigation of the Historiography of Islamic Iberia Through Castilian Literature
    Myth-making and the Historical Imagination: An Investigation of the Historiography of Islamic Iberia Through Castilian Literature Gaston Jean-Xavier Arze Springfield, Virginia BA English, University of Virginia, 2017 A Thesis presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Master of Arts Department of Religious Studies University of Virginia December, 2018 Dr. Ahmed H. al-Rahim Dr. E. Michael Gerli 2 1. Introduction A historical narrative is thus necessarily a mixture of adequately and inadequately explained events, a congeries of established and inferred facts, at once a representation that is an interpretation and an interpretation that passes for an explanation of the whole process mirrored in the narrative. Hayden White, Tropics of Discourse (1978). The history of Islam in Spain is a deeply contested historical narrative, whose interpretation has significant implications for Spain’s perception of its national identity, as well as its historical memory, and modern political discourse. The rejection of Islamic Iberia plays an important role in the modern understanding of the nascence of the Spanish state. This is because, the history of medieval Iberia is largely framed as an 800-year struggle for independence from invading Muslims. This historical narrative is obviously at odds with the historical presence of the religion of Islam, the irrefutable linguistic contact between Arabic and Peninsular Romance, and the role of Arabic and Arabic sources in Iberia’s rich literary history. The aforementioned interpretation of the history of the Iberian Peninsula also rejects the influence that Islam played in the creation of identities unique to the peninsula: namely, the Mudéjars, the Moriscos and the Mozarabs.
    [Show full text]
  • Theorizing the Language of Law
    THEORIZING THE LANGUAGE OF LAW JESÚS RODRÍGUEZ-VELASCO Law transforms reality, de iure and de facto, inasmuch as it attempts to bridge the gap between that which is done de facto and that which is regulated de iure. It is standard practice, for Alfonso X of Castile,1 to reinvent the means of writing the law. He does not limit himself to compiling or revising existing legal statutes; rather, he elevates the cor- pus of the law to the level of juridical science. Dominating the meaning of the word—its hermeneutics and its relation to truth, lies, rhetoric, history, and poetry—is also the key to dominating juridical discourse itself and its capacity for creating certainty. Or, at least, for controlling uncertainty. Uncertainty, that is to say, the ambiguity in the interpretation of the relationship between words and things, appears to be one of the targets of Alfonsine juridical science. It is in the institutions that one can best study this desire for control. In particular, the need for control becomes visible in the court and the places related to it (the palace, chamber, or bedroom), codified by the law in order to put justice into action, in the rep- resentation of power, in cultural exchange, in education, and in recreation. Here legisla- tion acquires a special significance with respect to the word, to narration, and to rhetoric. This is a philological problem: How does one compose and administer a text capable of controlling its own interpretation? How does one transpose this same dynamic to the institutions? How does one transmit this notion from the institution to those who inhabit it and who are, after all, the subjects of the legal science? It is therefore fitting to examine legislation about legal discourse, which is, in itself, the theory of law—not, however, in its abstract aspects but rather in the concrete elements of the formation of a legal vocabulary, in the way in which words, whose semantic and hermeneutic problems are clear, give life to this legal vocabulary.
    [Show full text]
  • The Mythological Image of the Prince in the Comedia of the Spanish Golden Age
    University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2014 STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE Whitaker R. Jordan University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jordan, Whitaker R., "STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE" (2014). Theses and Dissertations--Hispanic Studies. 15. https://uknowledge.uky.edu/hisp_etds/15 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Ovid and Ovidianism
    OUP UNCORRECTED PROOF – FIRST PROOF, 06/08/15, SPi Chapter 10 WWWWWWWWWWWWWWWW Ovid and Ovidianism Suzanne Conklin Akbari This chapter addresses the medieval reception of Ovid’s Metamorphoses and his writings on love, especially the Ars amatoria and Heroides.1 Through the reception of the Metamorphoses (in commentary, translation, and adaptation) we can trace devel- opments in medieval philosophical conceptions of change. Similarly, developments in the reception of Ovid’s works on love shed light on changing attitudes toward gender and sexuality, with responses to the Heroides providing especially poignant insights into the feminine voice in literature and the symbolic weight of the episto- lary form. In the first part of this chapter, I will provide a brief overview of the Latin commentary tradition on Ovid’s Metamorphoses before turning to a closer examina- tion of the vernacular circulation and adaptation of the text. I will focus particularly on the early fourteenth-century Ovide moralisé, which was tremendously important as a source not only within the French-speaking regions that would become the modern French nation but also throughout northern Europe more widely.2 I will give an account of the Middle English reception of Ovidian myth, especially as it was mediated through the Ovide moralisé, which was widely read in medieval England, used by both Gower and Chaucer, and finally translated by William Caxton for the printing press in the late fifteenth century. My account of the medieval English reception of the Metamorphoses as mediated through the Ovide moralisé includes an examination of the Prologue to Chaucer’s Legend of Good Women, along with selected episodes from Troilus and Criseyde.
    [Show full text]
  • The Anxious Hero Updated
    THE ANXIOUS HERO: DISSECTING MASCULINITIES IN THIRTEENTH–CENTURY MEDIEVAL IBERIAN LITERATURE A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Spanish By Anthony Javon Perry, M.S. Washington, DC November 7, 2018 Copyright 2018 by Anthony Perry All Rights Reserved ii THE ANXIOUS HERO: DISSECTING MASCULINITIES IN THIRTEENTH–CENTURY MEDIEVAL IBERIAN LITERATURE Anthony Javon Perry, M.S. Thesis Advisor: Emily C. Francomano, Ph.D. ABSTRACT My dissertation examines the varying and converging constructions of gender and genre in four thirteenth–century medieval Iberian texts: Poema de mio Cid, Libro de Alexandre, Libro de Apolonio and Alfonso X’s Estoria de Espanna. By contextualizing the texts historically and using the perspectives of feminist theory, gender theory and cultural studies, I examine the constructions of masculinities within these texts and the role that these constructions play in the text’s genre. I contend that these texts bear witness to the anxious relationship between masculinity and power in the thirteenth century and aim to shape the reader’s/listener’s image of kingship/leadership and, in turn, hegemonic masculinity. They serve as a mirror for and of male leaders, a speculum principis for their thirteenth–century audience. In each text, the male protagonist is a hero and, therefore, exemplary of what I term hegemonic masculinity. The self–fashioning of the hero’s masculinity, as manifest in the Fall/Redemption narrative structure, reveals itself to be anxious. I ground my argument in the medieval exegesis surrounding the Fall/Redemption trope and its ubiquity.
    [Show full text]
  • General Estoria. Breve Panorama Crítico
    Belén Almeida General Estoria. Breve panorama crítico Resumen La General Estoria, de Alfonso X El Sabio, empezó a redactarse hacia la década de 1270; su importancia radica, además del interés de su contenido, en el uso de la lengua vulgar en la redacción, su complejidad, su riqueza de fuentes y su voluntad de estilo. En las siguientes páginas se hará un recorrido del camino de la obra a lo largo de los siglos y de los estudios que numerosos investigadores, de diferentes disciplinas, han realizado en torno a este importante documento que ya se considera como una de las mejores obras literarias de las letras castellanas. Palabras clave: Edad Media, Crónica, traducción, manuscritos. Abstract The General Estoria, of Alfonso X The Wise, was started in earlies 1270s. The importance of the manuscripts lies, besides the interest of its contents, in the vernacular writing, its com- plexity, its wealth of sources. In the following pages we will see the work over the centuries and studies that researchers from different disciplines have made around this important document, that is already considered as one of the best literary works of Spanish literature. Keywords: Middle Ages, Chronicle, translation, manuscripts. 166 Revista de El Colegio de San Luis • Nueva época • año III, número 6 • julio a diciembre 2013 • El Colegio de San Luis General Estoria breve panorama crítico Belén Almeida* La General Estoria se proyectó como una historia universal que debía abarcar desde el origen de la humanidad hasta el siglo XIII, momento en que fue redactada. El rey Alfonso X de Castilla, llamado el Sabio (que reinó entre 1252 y 1284), ordenó y dirigió su composición.
    [Show full text]
  • Rhetoric in the Estoria De Espanna of Alfonso El Sabio
    Charles F. Fraker Talia dixit 1 (2006), 81-104 University of Michigan ISSN-1886-9440 Rhetoric in the Estoria de Espanna of Alfonso el Sabio Abstract: The redactors of the two Alfonsine histories are perhaps more grammatical than rhetorical; the free Castilian versions of their Latin originals are more notable for their clarity than for their eloquence. The editors do, however, apply two figures of rhetoric routinely throughout their text, transitio and aetiologia. A few passages on the Estoria de Espanna go much further. Two narratives there feature dramatic application of two Quintilianesque figures of amplification, comparatio and ratiocinatio. Other sections display a sort of quasi-classical prose, notable for its artful isocola and antitheses, and marked by a fine concern for prose rhythm. This last feature might suggest that the compilers had some knowledge of the ars dictaminis. Keywords: Alfonso el Sabio, Primera Crónica General, Estoria de España, historiography, rhetoric. Nearly three centuries after Alfonso X and his collaborators composed the Estoria de Espanna (henceforth EE), Giovanni Antonio Viperano (1569) wrote a treatise on the art of history entitled De scribenda historia. Many of the themes in this short work have a familiar ring, others perhaps less so. In the first chapter we are told that history should be at once true and edifying, and that there should be no incompatibility between the two. Prodesse et delectare should also be the rule; however earnest and truthful the historian may be, he writes in vain if he does not please his audience. In chapter V Viperano explicitly assimilates the historian to the orator.
    [Show full text]
  • The Poetics of Human Rights: Auden and Al-Jawahiri in the 1930S
    THE POETICS OF HUMAN RIGHTS: AUDEN AND AL-JAWAHIRI IN THE 1930S AHMED FAISAL KHALEEL PhD UNIVERSITY OF YORK ENGLISH AND RELATED LITERATURE FEBRUARY 2015 Dedication To My Father, whose funeral I couldn’t witness Or be with him in that hour of need This, Ḥāj Faisal, is a day of happiness For you and all my friends whom Death ceased Let your blessed souls have fun today I will join you later, as a Dr., I pray. ii Abstract This is a comparative study of human rights in modern English and Arabic poetry. It is an attempt to find out answers for the ongoing controversies on human rights across cultures, as well as between the humanitarian and the legal perspectives of human rights. It is also a step towards inspecting further dimensions in the relationship between human rights and literature, considering poetry as a main literary genre. Through narrative, argumentative and analytic methods this research project tackles a selection of the poetic careers of W. H. Auden and Mohammed Mahdi al-Jawahiri in the 1930s. Three poems are selected from each of the two poets, according to subject matter and its relation to human rights, chronological development, surrounding events and the poet’s character, his reactions and concerns. From Auden I have selected “Musée des Beaux Arts,” “Epitaph on a Tyrant” and “Refugee Blues;” while from al-Jawahiri, “Taḥarrak al-Laḥd” (The Coffin Moved), “Fī al-Sijn” (In Jail) and “al-Iqṭāʿ” (Land policy). Being divided into three pairs, the six poems (‘Musée des Beaux’ Arts with ‘Fī al-Sijn’, ‘Epitaph on a Tyrant’ with ‘Taḥarrak al-Laḥd’ and ‘Refugee Blues’ with ‘al- Iqṭāʿ’) will be identified and analysed in terms of human rights.
    [Show full text]
  • Portugal As Nostos Interrupted
    Portugal as Nostos Interrupted Christopher Kark Stanford University Abstract: In the present article, I examine the role of prophecy in Gabriel Pereira de Castro’s Ulisseia (1636) and António de Sousa de Macedo’s Ulissipo (1640), two pre-Restoration epics that center on Odysseus as the mythological founder of Lisbon. In both epics, a prophecy drives the hero to found Lisbon as a precondition for making his nostos to Ithaka while also speaking of a fabled warrior landing at the future site of Lisbon in order to found a great empire. This prophecy echoes others that predict the return of the Encoberto, yet they also tempt Odysseus into forgetting his nostos for the sake of Lisbon’s foundation. Insofar as forgetting one’s nostos is associated with a deathlike state (lêthê) in epic poetry, the parallel between Odysseus and the Encoberto strongly suggests that the imperial enterprise itself is a hazard that leads the hero towards oblivion and death. Keywords: epic, prophecy, apocalypse, Restoration, Sebastianismo, nostos. Built around the literary figure of Odysseus, Gabriel Pereira de Castro’s Ulis- seia (1636) and António de Sousa de Macedo’s Ulissipo (1640) work to link the Homeric hero’s alleged foundation of Lisbon to prophecies regarding the Enc- oberto. Taking the ancient Greek concept of nostos (homecoming) as central to this link, I contend in the present study that by essentially forgetting about Ithaka in both epics (recalled only at the last moment in the Ulisseia and aban- doned altogether in the Ulissipo), Odysseus places the Encoberto prophecies on shaky ground—even as both poems seek to lend them a measure of credibility.
    [Show full text]
  • Francisco Peña Fernández 551 Ehumanista 24 (2013)
    Francisco Peña Fernández 551 La relatividad de las cosas: Heterodoxy and Midrashim in the First Chapters of Alfonso X’s General Estoria Francisco Peña Fernández University of British Columbia …que después que el rey don Alfonso regno dezia muchas [vezes] palabras de gran soberbia que si el con Dios estouiera o fuera su consejo que algunas cosas si lo Dios creyera fueran major fechas que commo las le fiziera […] era verdad que lo dixiera e lo dezia ahun que si con el fuera en la criazon del mundo que muchas cosas emendara e corrigiera que se fisieran muy major que lo que estaua fecho. (Crónica Geral de Espanha de 1344) Manuel Alvar, in his article, “Didactismo e Integración en la General Estoria” published in 1985, summarized, illustrated, and explained many aspects of the magna obra of the learned king, stressing the strong and specific relation inherent between the Castilian universal history and the Bible. For the Spanish critic, the translation of the sacred text from the Vulgata is not only a main objective in the work of don Alfonso but conditions any other purpose (Alvar 26). From the many aspects –religious, political, encyclopedic, didactic- that he observes in this medieval universal history there is one of obvious theological, literary, and philosophical consequence I found especially insightful: the constant awareness and defense that the General Estoria has of la relatividad de las cosas, the relativity of things (75). Manuel Alvar strongly believes that Alfonso´s relativistic approach results from the syncretism of his enterprise, which learns from the heterogeneity of knowledge1.
    [Show full text]
  • The Werewolf in Lore and Legend Plate I
    Montague Summers The Werewolf IN Lore and Legend Plate I THE WARLOCKERS’ METAMORPHOSIS By Goya THE WEREWOLF In Lore and Legend Montague Summers Intrabunt lupi rapaces in uos, non parcentes gregi. Actus Apostolorum, XX, 29. DOVER PUBLICATIONS, INC. Mineola New York Bibliographical Note The Werewolf in Lore and Legend, first published in 2003, is an unabridged republication of the work originally published in 1933 by Kegan Paul, Trench, Trubner & Co., Ltd., London, under the title The Werewolf. Library ofCongress Cataloging-in-Publication Data Summers, Montague, 1880-1948. [Werewolf] The werewolf in lore and legend / Montague Summers, p. cm. Originally published: The werewolf. London : K. Paul, Trench, Trubner, 1933. Includes bibliographical references and index. ISBN 0-486-43090-1 (pbk.) 1. Werewolves. I. Title. GR830.W4S8 2003 398'.45—dc22 2003063519 Manufactured in the United States of America Dover Publications, Inc., 3 1 East 2nd Street, Mineola, N.Y. 11501 CONTENTS I. The Werewolf: Lycanthropy II. The Werewolf: His Science and Practice III. The Werewolf in Greece and Italy, Spain and Portugal IV. The Werewolf in England and Wales, Scotland and Ireland V. The Werewolf in France VI. The Werewolf in the North, in Russia and Germany A Note on the Werewolf in Literature Bibliography Witch Ointments. By Dr. H. J. Norman Index LIST OF ILLUSTRATIONS I. The Warlocks’ Metamorphosis. By Goya. Formerly in the Collection of the Duke d’Osuna II. A Werewolf Attacks a Man. From Die Emeis of Johann Geiler von Kaisersberg III. The Transvection of Witches. From Ulrich Molitor’s De Lamiis IV. The Wild Beast of the Gevaudan.
    [Show full text]
  • Language Museums of the World
    Language museums of the world Edited by Ottar Grepstad Language museums of the world Institutions, websites, memorials Edited by Ottar Grepstad Centre for Norwegian Language and Literature Ørsta 2018 1 © 2018 Ottar Grepstad and Centre for Norwegian Language and Literature Last update 4 February 2018 Published at www.aasentunet.no 10 March 2018 Front page Inscription in 34 languages on a glass wall in the Ivar Aasen Centre, Ørsta, Norway (photo Ivar Aasen Centre). An inaccurate transcription of the texts: 1 Fulfulde (woodi ujuneeje bolle) 1–2 English (there are thousands of languages) 2 Estonian (maailmas on tuhandeid keeli) 3 Mandarin (shiejie shang you shuqianzhong yuyan) Irish Gaelic (tá mílte teanga ánn) 4 Italian (di lingue ce ne sono a migliaia) 4–5 Portuguese (há milhares de línguas) 5 Noregian Nynorsk (det finst tusenvis av sprsk) 5–6 Polish (jest kilka tysiecy jezyków) 6 Arabic (hunaak aalaaf allughaat) 7 Latin (linguarum sunt milia complura) 7–8 Bosnian, Croatian, Serbian (na svijetu ima nekoliko tisuca) 8–9 Spanish (hay millares de lenguas) 9 Shona (kune zviuru nezviuru zvemitauro) 10 Bulgarian (ima njakolko hiljadi ezika) 10–11 Turkic (binlerce dil vardir) 11 Finnish (kielis on useita tuhansia) 11–12 Icelandic (þađ eru til mörg þusund tungumál) 12 Armenian 13 Hindi (hazaaron bhaashaaen hain) Welsh (y mae miloedd o ieithoedd) 14 Russian (susjtsjestvujet neskol'ko tysiatsj jazykov) 14–15 French (il existe des milliers de langues) 15 Urdu (hazaaron zabaanen hain) 16 German (es gibt mehrere tausend sprachen) 16–17 Afrikaans (daar
    [Show full text]