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“Zerhaut, zerreißt, zerschmettert!”

Der Bethlehemitische Kindermord – ein interkonfessionelles Bindeglied in den europäischen Künsten

Elena Nendza

der Ratsherr und Dichter Barthold Heinrich Brockes vermag mit seiner deutsch-italienischen Übersetzung das ‘niederländische Gedankengut’ aus dem geistlichen Epos im frühen 18. Jahrhundert der Hansestadt Hamburg richtig freizusetzen. Marinos epische Kindermord-Adaptation avanciert in der europäischen

Lynne Tatlock

translation, and a distant adaptation, namely, Antonio de Eslava’s Noches de Invierno (Pamplona/Barcelona 1609); Matthäus Drummer von Pabenpach’s German translation of it, Noches de Invierno, Winternächt (Vienna 1649); and Johann Beer’s Zendorii a Zendoriis Teutsche Winternächte (Nuremberg 1682). In so

Oehme Annegret

. What might seem like an insignificant difference is in fact of major importance. This change of emphasis alters the entire narrative intention of the text and underscores the adaptation’s dramatic repurposing of the source material. Indeed, it is not simply that the Magelene ends by focusing on a

Western Crime Fiction Goes East

The Russian Pinkerton Craze 1907-1934

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Boris Dralyuk

This book examines the staggering popularity of early-twentieth-century Russian detective serials. Traditionally maligned as “Pinkertonovshchina,” these appropriations of American and British detective stories featuring Nat Pinkerton, Nick Carter, Sherlock Holmes, Ethel King, and scores of other sleuths swept the Russian reading market in successive waves between 1907 and 1917, and famously experienced a “red” resurgence in the 1920s under the aegis of Nikolai Bukharin. The book presents the first holistic view of “Pinkertonovshchina” as a phenomenon, and produces a working model of cross-cultural appropriation and reception. The “red Pinkerton” emerges as a vital “missing link” between pre- and post-Revolutionary popular literature, and marks the fitful start of a decades-long negotiation between the regime, the author, and the reading masses.

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Lotte Hellinga

straightforward purchase, but instead consider that the type was made available on a temporary basis. Although some minor adaptations were made to the type to render it suitable for printing in English (such as a high English w and the English contraction Æ), the type was not used again by Wynkyn de Worde

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Lotte Hellinga

stumbling over texts in Latin, to enunciate distinctly, clearly and elegantly. Bale lists ten plays that Radcliff had written himself, ranging from comedies and tragedies to plays on biblical subjects, but also notes adaptations of tales from the Decameron (Titus and Gisippus, Griseldis) and Melibeus fom

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Lotte Hellinga

the Burgundian court and much encouraged by its entourage. The culture that produced the famously splendid manuscripts went hand in hand with that of producing texts by translation, adaptation and editing, in many cases by the same talented individuals who created the manuscripts. Caxton and Mansion

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Nicolás Bas Martín

suffered the same fate on grounds of being “counterfeit”. 17 Several years after that, “le nouveau Don Quichotte imité de l’allemand de M. Wieland”, 18 an octavo edition published in Bouillon in 1770 in clear allusion to the adaptation that Madame d’Ussieux had made of Cervantes’ work and then

Hans Kienhorst and Guido de Baere

Translator Maj Strooker

returned in the Antwerp fragment in lines 1v.a1-2. Finally, the events portrayed in lines 1v.b4-15 appear to derive from John 6:6-11. The fragment seemingly leaps from Matthew 15 on f. 1 to Matthew 22 on f. 2. Column 2r.a concerns an adaptation of the dialogue between Jesus and the Pharisees about the

W.C.M. Wüstefeld

far escaped notice. 11 Other testimonies in Holland are: Hoorn (St Cecilia’s), Delft (St Barbara’s) and Oegstgeest (Mariënpoel, a Windesheim Convent). 12 Possibly the Middle-Dutch adaptation of the Explicatio predates the Bedudinghe , as two manuscripts are dated to the last quarter of the