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Un Traducteur Au Miroir De Ses Préfaces Du traducteur au lecteur. Zur Paratextkultur der französischen Übersetzungen aus dem Italienischen im 16. und frühen 17. Jahrhundert Inaugural-Dissertation zur Erlangung der Doktorwürde der Philologischen Fakultät der Albert-Ludwigs-Universität Freiburg i. Br. vorgelegt von Clara Theresia Fritz geb. Strehlke aus Heidelberg WS 2013/14 Erstgutachter: Prof. Dr. Frank-Rutger Hausmann Zweitgutachter: Prof. Dr. Achim Aurnhammer Vorsitzender des Promotionsausschusses der Gemeinsamen Kommission der Philologischen, Philosophischen und Wirtschafts- und Verhaltenswissenschaftlichen Fakultät: Prof. Dr. Bernd Kortmann Datum der Fachprüfung im Promotionsfach: 09. 07. 2014 INHALT I. Einleitung............................................................................................................................... 3 I.1 Beschreibung des Forschungsanliegens ................................................................................ 3 I.1.1 Themeneinführung ..................................................................................................... 3 I.1.2 Zentrale Fragestellung und Aufbau der Arbeit .......................................................... 7 I.2 Frankreich zwischen Italomanie und Italophobie ............................................................... 11 I.2.1 Der franko-italienische Kulturkontakt im 14. und 15. Jahrhundert ......................... 11 I.2.2 Die Italienbegeisterung des 16. Jahrhunderts .......................................................... 13 I.2.3 Italienfeindlichkeit im 16. und frühen 17. Jahrhundert............................................ 18 I.3 Italianisme und anti-italianisme als Gegenstand der Forschung ........................................ 27 I.3.1 Die franko-italienischen Kulturbeziehungen aus der Sicht des 19. Jahrhunderts .... 27 I.3.2 Die romanistische Forschung seit dem frühen 20. Jahrhundert ............................... 29 I.3.3 Forschungsdesiderat ................................................................................................. 31 II. Die französischen Übersetzungen aus dem Italienischen .............................................. 36 II.1 Bestandsaufnahme ............................................................................................................. 38 II.2 Korpusbeschreibung .......................................................................................................... 65 II.2.1 Autoren und Werke ................................................................................................ 65 II.2.2 Phasen der Rezeption.............................................................................................. 68 II.2.3 Übersetzer ............................................................................................................... 71 II.2.3.1 François de Belleforest .................................................................................... 73 II.2.3.2 Pierre Giunta dit de Larivey ............................................................................ 75 II.2.3.3 Gabriel Chappuys ............................................................................................ 76 II.2.3.4 Roland Brisset .................................................................................................. 77 II.2.3.5 Antoine de Nervèze ......................................................................................... 78 II.2.4 Drucker und Verleger ............................................................................................. 79 II.2.4.1 Paris: Abel L’Angelier ..................................................................................... 79 II.2.4.2 Lyon: Guillaume Rouillé ................................................................................. 80 II.2.4.3 Vorreden von Verlegern und Herausgebern .................................................... 82 II.2.5 Leser und Zielgruppen ............................................................................................ 84 III. Die Übersetzerparatexte .................................................................................................. 88 III.1 Formen und Gattungen ..................................................................................................... 90 III.1.1 Widmung ............................................................................................................... 90 III.1.2 Vorwort an den Leser ............................................................................................ 98 III.1.3 Gedichtbeigaben .................................................................................................. 103 III.2 Besonderheiten des Übersetzerparatexts ........................................................................ 111 III.2.1 Topoi der Diskreditierung ................................................................................... 112 III.2.2 Topoi der Aneignung und Vereinnahmung ......................................................... 115 III.2.3 Topoi der Ebenbürtigkeit .................................................................................... 123 IV. Traduttore traditore: Theorie und Praxis des Übersetzens ......................................... 128 IV.1 Imitatio und Übersetzen als theoretisches Problem ....................................................... 130 IV.1.1 Etienne Dolet....................................................................................................... 131 IV.1.2 Thomas Sebillet, Joachim Du Bellay und Barthélemy Aneau ............................ 133 IV.1.3 Jacques Peletier Du Mans ................................................................................... 138 IV.2 Die Übersetzer in eigener Sache .................................................................................... 141 IV.2.1 Übersetzen als Mittel der Sprachbereicherung ................................................... 141 IV.2.2 Übersetzungstechniken ....................................................................................... 145 IV.2.3 Das Problem des geistigen Eigentums ................................................................ 153 IV.2.3.1 Plagiat und Urheberrecht ............................................................................. 153 IV.2.3.2 Die Trage-comédie pastoralle von Claude de Bassecourt ........................... 158 IV.2.4 Wortschatz und Neologismen ............................................................................. 163 IV.2.5 Vers und Prosa .................................................................................................... 167 IV.2.6 Übersetzer über das Übersetzen .......................................................................... 175 V. Literatur- und Kulturimport im Spannungsfeld von imitatio und æmulatio............. 181 V.1 Italien als Modell ............................................................................................................. 182 V.1.1 Auswahlkriterien für Autoren und Werke ............................................................ 182 V.1.2 Formen und Gattungen ......................................................................................... 190 V.1.2.1 Epische Literatur ........................................................................................... 192 V.1.2.2 Komödie ........................................................................................................ 197 V.2 Italien als Rivale .............................................................................................................. 204 V.2.1 Le débat des deux langues oder der Streit um die Sprache .................................. 204 V.2.2 Übersetzen als Eroberungsstrategie...................................................................... 209 V.2.2.1 Gleichstellung von Autor und Übersetzer ..................................................... 209 V.2.2.2 Überbietung der Vorlage ............................................................................... 215 V.2.2.3 Der französische Anspruch auf kulturelle Vorherrschaft in Europa ............. 220 VI. Ertrag der Untersuchung .............................................................................................. 229 VII. Index und Verzeichnisse .............................................................................................. 237 VII.1 Literaturverzeichnis ...................................................................................................... 237 VII.2 Verzeichnis der wichtigsten Eigennamen ..................................................................... 256 VII.3 Verzeichnis der französischen Übersetzer .................................................................... 263 VII.4 Verzeichnis der italienischen Autoren und Werke ....................................................... 265 VII.5 Devisen und Anagramme ............................................................................................. 268 Anhang: Transkriptionen .................................................................................................... 270 2 I. Einleitung I.1 Beschreibung des Forschungsanliegens I.1.1 Themeneinführung Für das französische 16. Jahrhundert spielt der kulturelle Dialog mit Italien in allen Lebensbereichen eine kaum zu überschätzende Rolle. Die Übernahme von literarischen Formen, Themen und Gattungen, sprachliche Entlehnungen sowie der Import von Mode, Musik, Architektur und bildender Kunst bis hin zu Hofsitten und gesellschaftlichen Konzepten aus dem in allen diesen Bereichen weitaus höher entwickelten Nachbarland
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