The University of Alicante Library copy of Palmerin d'Oliva (London, 1637): A Bibliographical Description

The purpose of this article is to provide bibliographical information about a copy of the fourth edition of the two parts of Anthony Munday's translation of Palmerin d'Oliva (London, 1637; STC 19160) recently purchased by the University of Alicante Library and not mentioned in the standard bibliographies. The article contains a detailed bibliographical description based on Bowers's principles (1949) and is designed to be useful to scholars by making direct consultation of the copy in most cases unnecessary. The description is preceded by a short introduction to the literary text and its publication in England.

The Sowdoun of Babyloyne: a description of the manuscript

Patricia Shaw scholarship (AEDEAN).

Word-formation and the translation of Marvel comic book charactonyms

This article analyzes the solutions given in Spanish translations to the morphological creativity shown in the names of Marvel comic book characters. The English versions almost invariably provide a full description of the hero (or villain) by means of a wide variety of word-formation mechanisms leading to highly expressive charactonyms. Indeed, examples shall be listed of names of comic book heroes created through compounding, derivation, including prefixation or suffixation (both classical and Anglo-Saxon but also from other origins), lexical blending, abbreviation, clipping, onomatopoeia, and borrowings from Spanish or from other languages. Early translations into Spanish seemed to be slightly less expressive than the original, even when the same word-formation mechanism was used, usually due to either problems of transparency mainly in some of the word parts or to translation constraints. In later periods, a number of factors, including the influence from other media featuring the same characters and the general trend towards globalization through English, have led translators to choose repetition as the most frequent strategy, which has almost eliminated the creative power of wordformation mechanisms in Spanish and their ability to convey the stylistic effects found in the English versions.