Magnificat : cultura i literatura medievals. 2015. No. 2

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    El frau de l’alquimista en l’infern dantesc de Joan Pasqual i en la tradició medieval
    (2015) Gómez, Francesc J.
    This article presents and analyses chapter XLVI from the Tractat de les penes particulars d’infern by Catalan franciscan friar Joan Pasqual, written soon after 1436. This chapter, “Del cercle de l’alquímia”, includes an exemplum which is doubly significant: on the one hand, it documents the alchemic legend in the Plantagenets’ court during the 14th and 15th centuries; on the other hand, and most importantly, it is a new testimony of two narrative motifs of Eastern origin: the fake alchemist and the king (Thompson, K.111.4; Tubach, 89), and the account-book of mistakes or fools (Thompson,J.1371). After introducing the medieval witnesses of these motifs, the alchemic legend of Ramon Llull and king Edward of England, and Joan Pasqual in his historical context, the essay offers an edition of the Catalan text and a thorough comparative analysis with the more evident witnesses within the tradition: for the whole story, the Kit?b al-mukht?rf? kashf al-asr?r (IX, 9) by Al-Jawbar?, the exemplum XX in the Libro del conde Lucanor by don Juan Manuel and the anonymous Libro del caballero Zifar; also Fèlix or Llibre de meravelles (VI, 36[4].47-68) by Ramon Llull for the motif of the alchemist and the king, and the novella LXXIV in the Novellino Borghini for the motif of the account-book of mistakes of fools. The conclusions of this analysis allow to trace the outline of a very useful stemma narrationum to discuss the position of Geoffrey Chaucer’s The canon’s yeoman’s tale within this tradition.
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    Les "Razos de trobar" de Ramon Vidal: una gramàtica per al cant
    (2015) Espadaler, Anton M.
    The Razos de trobar are revisited in this paper, with a recapitulation of the learned opinions on this text’s subject, and a new evaluation of it as a grammar handbook for troubadours. Characteristics are set down which differentiate this work from others like Uc Faidit’s Donatz proensals and Jofre de Foixà’s Regles de trobar. Attention is also given to the possible reasons for this text’s popularity, and on the way, Ovidian sources are retraced for the famous final lines (37-39) of Arnaut Daniel’s “Ab gai so cundet et leri”: “Ieu sui Arnautz qu’amas l’aura...”
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    Transcribing the "Estoria de Espanna" using crowdsourcing: Strategies and aspirations
    (2015) Duxfield, Polly
    This paper examines the specific strategies for recruitment and retention of volunteer transcribers in use in two collaborative transcription projects: Transcribe Bentham (University College, London) and the Estoria de Espanna Digital Project (University of Birmingham). The aim of the paper is to review the strategies used by Transcribe Bentham, a more mature crowdsourced electronic transcription project, with a view to informing the strategies put into place in the Estoria project, which has started transcribing using crowdsourcing more recently. The paper discusses the difficulties faced by crowdsourced electronic transcription projects and how these have been and are being resolved in these two projects. The difficulties discussed include the complexity of the palaeography involved, the necessity of tagging transcriptions using XML, the requirement to moderate and carry out quality-control of volunteer-produced transcriptions, and the creation of an atmosphere of camaraderie amongst staff-members and crowdsourcers, many of whom have never, and will never meet face-to-face. The findings may be useful for other collaborative electronic transcription projects and will inform and shape the way the Estoria project continues to use strategies to raise levels of recruitment and retention of crowdsourced transcribers.
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    The fifteenth-century Catalan translation of the French "Danse macabre": A critical edition and English translation, from manuscript Miscel·lània 26, Arxiu de la Corona d’Aragó, Barcelona
    (2015) Zvonareva, Alina
    The present article focuses on ff. cxlr-cviiir of the manuscript Miscel?lània 26, Arxiu de la Corona d’Aragó, Barcelona, which contain the only extant version of the fifteenth-century Catalan translation of the French Danse macabre. The article contains a philological study of this section of the manuscript, with particular attention to the relationship between the Catalan version of the Danse macabre and its French sources: this study serves as an introduction to a new critical edition of the Catalan translation proposed in the second part of the article. The critical text consists of a parallel edition of the Catalan version and manuscript lat. 14904, Bibliothèque nationale de France, Paris (MS BnF lat. 14904), which proves to be the witness of the French poem closest to the lost exemplar used by the Catalan translator. Both editions aim at finding a balance between readability and a conservative approach which preserves the historical character of the manuscripts. The critical text is preceded by editorial criteria and accompanied by a literal translation into modern English and editorial notes.