2013
DOI: 10.1484/m.tmt.1.101442
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Banking on translation: English printers and continental texts

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“…The most attractive identification of these anonymous figures is perhaps the following: one of the two men may represent the French author/copyist of the debate to whom the Pucelle has taken her verbal account of her dream-vision, while the central figure is the English translator-author, and the figure to the right is the Pucelle. This woodcut uses a technique employed by Antoine Vérard in his Therence en francoys (1500-03), and Jardin de plaisance (1501), which is discussed by Martha Driver, Adrian Armstrong, and Jane H. Photograph reproduced by the permission of the Bibliothèque nationale de France 41 I am extremely grateful to Julia Boffey who generously shared her work on the English version of the Songe with me prior to its publication (see Boffey 2013). She also most kindly directed me to this woodcut which she had located.…”
Section: The Visual Tradition Of the Songementioning
confidence: 99%
“…The most attractive identification of these anonymous figures is perhaps the following: one of the two men may represent the French author/copyist of the debate to whom the Pucelle has taken her verbal account of her dream-vision, while the central figure is the English translator-author, and the figure to the right is the Pucelle. This woodcut uses a technique employed by Antoine Vérard in his Therence en francoys (1500-03), and Jardin de plaisance (1501), which is discussed by Martha Driver, Adrian Armstrong, and Jane H. Photograph reproduced by the permission of the Bibliothèque nationale de France 41 I am extremely grateful to Julia Boffey who generously shared her work on the English version of the Songe with me prior to its publication (see Boffey 2013). She also most kindly directed me to this woodcut which she had located.…”
Section: The Visual Tradition Of the Songementioning
confidence: 99%