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This article introduces the monograph “Translations, versions and commentaries on poetry in the 15th- and 16thcenturies”, which includes four studies dealing with translations from vernacular to vernacular, of works by Dante,Petrarch, Alain Chartier and Jan van der Noot.

This work highlights and describes the specific way in which fictional discourse in Spanish gradually took shape and developed in the rewriting of history in the first half of the 13th century. The battle of Atapuerca (1054) is a milestone in the history of the Kingdom of Navarre. Since its first historiographical version preserved in the Historia silense (c. 1118-1126), the account of the battle of Atapuerca underwent modifications, amplifications and several recasts in its extensive dispersion in time and space. In the first place, the work presents a comparison between different Latin versions (mainly the Silense, the Chronicon mundi and De rebus Hispaniae) and several Castilian versions (the Versión crítica de la Estoria de España, the Crónica sanchina, the Crónica de Castilla and the Crónica general de 1344) of the battle of Atapuerca. Secondly, a detailed analysis of a late version of the battle is carried out taking into account the evolution of narrative prose in medieval Spanish. This version adopts the typical narrative forms of the fazaña, a minor Castilian legal genre. The work focuses at this point on the peculiar intersection between the legal mould provided by this short narrative form and the traditional historiographic matter. In the treatment of historical matter and in the peculiar presentation of motifs and characters in this episode, the fazaña shows striking features that many critics have identified as fictional or even novelesque.

Between the Transformacions of Francesc Alegre (c.1452 - c.1508) and the mythological proses of Joan Roís de Corellasome textual coincidences have been detected. Not without reservations, these coincidences have been explainedas Corellas influence on Alegre. This is the most satisfactory explanation, given Alegre’s admiration and imitation ofCorella’s prose, and Corella’s huge fame in the second half of the fifteenth century. However, Alegre knew earlier versionsof Ovid’s Metamorphoses, such as that by Francesc de Pinós (1416-1475), or the anonymous Castilian version, bothnowadays lost. And perhaps these versions were known by Corella too. The textual coincidences of these two authors havebeen analyzed here to determine if they respond to Corella’s direct influence or if, in some cases, they could be explainedby a common ancestor.

A complete codicological analysis of manuscript 2763 of the University Library of Salamanca. This is volume SA10, inthe acronym system proposed by Brian Dutton (1990-91), a codex that groups two independent cancionero manuscriptsof medieval poetry, dating from the early sixteenth century. This exhaustive study of the codex materiality is completedby counting and analysing its selected works and authors, as well as their layout and sequencing. The results allow us toformulate an hypothesis about the genesis of the volume and its complex process of copying and transmission.

On a very original narrative system, Jaufre's novel is constructed through inter-textual references and relationships withmany contemporary romance texts. The work presented here tries to highlight specific relationships that connect thenovel with the Première Continuation Perceval and with the novel by Renaut de Beaujeu Le Bel Inconnu.

An examination of the single manuscript of Anne de Graville’s Rondeaux, a ‘translation’ of Alain Chartier’s La Belle Dame sans mercy, as well as consideration of Carl Wahlund’s 1897 critical edition reveals that Anne used several manuscripts and early printed editions in establishing the version of Chartier’s poem written in the margins of BN fr 2253. The base exemplar was most likely St. Petersburg, National Library of Russia MS fr. f° v. XIV. 0007, with variants found in BN fr 20026, BN fr 924, and the early printed editions.

This paper studies the technique applied by Andreu Febrer in the verse translation of Dante’s Commedia, in which hepreserved both the metre and the meaning. The adopted point of view diverges from the usual appraising approach tothis translation, describing instead the varied techniques used by the translator. The examples analised show a skilled andcreative poet able to preserve the formal constriction without sacrificing the semantic accuracy with respect to Dante’s text.

The Brabantian poet Jan van der Noot (1539-95?) wrote in both Dutch and French, and composed several works in both languages. Sometimes the two versions were published separately: the Dutch collection Het Theatre and its French counterpart, Le Theatre, were each printed in London in 1568. More often, the versions appeared alongside each other in bilingual editions: Cort begryp der XII boeken Olympiados / Abregé des douze livres Olympiades (1579), Lofsang van Braband / Hymne de Braband (1580), and various short pieces reproduced in anthologies of Van der Noot’s poetry (1580-95). The present study contends that Van der Noot’s self-translations should be read as translations from Dutch to French, rather than from French to Dutch as scholars have commonly assumed. It examines Van der Noot’s self-translational strategies, focusing in particular on his handling of form and versification, and the role played by paratext and illustrations. In doing so, it offers an alternative perspective on a figure whose translational activity is generally considered to have operated in the opposite direction, introducing innovations into Dutch poetry by imitating the work of Ronsard and the Pléiade.