Аннотация:The 'grand narrative' of pre-print and print in medieval and Renaissance translation has begun to be challenged over the past decade. 1As part of his inspiring 'long view' of translation history, Anthony Pym rightly complicates notions of a chronological divide between 'pre-print' and 'print'.With reference to the aforementioned 'grand narrative', Pym points out that at the turn of the print age translation and translators are deemed to have fostered the emergence of source criticism and reconstruction (in Pym's phrase, the text as 'the thing to be trusted'). 2 The refinement of philology is said to have enhanced confidence and interest in the texts on the part of Renaissance readers. 3 According to another strand of the 'grand narrative', print technology stimulated the democratisation of knowledge and, inevitably, competition and collaboration between authors, printers, translators, editors, readers, and patrons.Several aspects of the grand narrative rely on long-held assumptions about periodisation, progressive changes to translative practices, and national and transnational 1 In this volume, the term 'Renaissance' is preferred to 'early modern'.We follow the view that 'Renaissance' indicates broadly "the intellectual, artistic, and cultural movements associated with that term" rather than "social, economic, and political structure and change" of the period 1400-1700.This distinction is however controversial and has been the subject of much discussion.See
