Compilations

RESUMO: Nesta breve comunicação coloca-se a questão de saber em que medida eventuais fragmentos do Direito romano foram convertidos em Ius proprium, passando a servir de fonte imediata de Direito português, através da colectânea oficial das Ordenações Afonsinas. Sem réstia de dúvida, a chegada a Portugal dos princípios romanísticos difundidos pela Europa, sobretudo a partir do Studium de Bolonha, foi bastante precoce. Afastado o Código Visigótico, o reino de Portugal revelar-se-ia feraz à penetração de um Ius commune. Sem que nos primeiros séculos, todavia, fosse despicienda uma certa oposição por parte da tradição jurídica foralenga e consuetudinária. Vencida esta resistência inicial, rapidamente o Direito romano assume o primado no elenco das fontes subsidiárias, conforme ficou bem patente no título 9º do livro II da colectânea afonsina. Em definitivo, existem múltiplas referências indiciárias disseminadas pelo texto legislativo afonsino que manifestam um recurso assíduo aos textos da jurisromanística, v. g., o princípio contratual da laesio enormis. ABSTRACT: This brief communication brings up the question concerning the extent in which eventual fragments of Roman law were converted into Ius proprium and became direct source of Portuguese law through the Official Compendium of Ordenações Afonsinas. Undoubtedly, the arrival in Portugal of the romanistic principles spread throughout Europe, mainly from the Studium of Bologna, happened very early. With the removal of the Visigoth Code, the kingdom of Portugal showed great interest in the penetration of one Ius commune. However in the early centuries there was a certain opposition from the juridical tradition foralenga and consuetudinary. With the overcoming of this initial resistance, quickly Roman law takes primacy in the cast of subsidiary sources, as was demonstrated in title 9º of book II of the collection Afonsina. In short, there are evidential references scattered throughout the legislative text Afonsino that manifest a frequent recourse to texts of Roman law, v. g, the contractual principle of laesio enormis.

Colt 45 - Underground Post Punk, Tropical Tapes, Lo-Fi Electronics and Other Sounds from Brazil [1983-1993] explores an experimental post-tropicalist sensibility emerged in the early 1980s with the arrival of independent art scenes in key Brazilian cities such as Belo Horizonte, São Paulo, Rio De Janeiro, Niterói and Sorocaba. Including 18 rare cuts taken from self-released cassette tapes, hard-to-find & out of print LPs, as well as unpublished archival material, COLT 45 features a collection of moody post punk, samba-noise, early synth-pop, dark disco-not-disco, new wave, tropical industrialism, electro-cabaret, cold wave and marginal poetry.

This ADVENTIST TODAY web site snapshot includes the paper “Ellen G. White and Her English Composition Skills” posted in the magazine and the lame arguments and excuses some Ellen White “believers” have made in her defense as a reaction to the posted paper.

The Holy Land was described not just in the accounts of the pilgrims who visited the most sacred land of Christianity, but also in several compilations and collections of texts conceived as guidebooks for clerics and pilgrims. From the fourteenth century onwards, many of these collections are clearly linked to the Franciscan Convent of Mount Sion. These assemblages often include texts on customs and religious beliefs of the peoples of the Near East and on the history of the Holy Land. One of the aims of the compilers seems to have been to prepare the reader to meet unorthodox practices and beliefs, emphasising the contrast between Latin Christianity and Eastern Christianity or Islam.

The heralds' compendia are covering a surprising variety of texts, dealing as well with the heralds and their office itself as well as the different ceremonies of chivalry and the organisation and the symbols of the noble society. Presenting themselves nearly as a kind of manuals for the heralds' office, these manuscripts, until now widely neglected, constitute a veritable "kaleidoscope" of the late medieval noble culture. Because, the duties and interests of the heralds of arms surpassed largely their preoccupation with heraldry in stricto sensu: they consist either in diplomacy and noble representation, especially in the preservation and spreading of the honour of the nobility. The aim of the present study is to introduce this promising group of sources, proposing a preliminary classification and interpretation. Therefore it makes use of two different methods. The first one focuses on the manuscripts as material objects, trying to locate their elaboration and reception in their former concrete historical context. The second one studies the texts they are including, stressing the difference between their instrumental and symbolic meaning to present in detail their eventual use and inherent attraction. By these means, the present thesis achieves to demonstrate how noble readers get appropriate the compendia. It explains this phenomenon by a peculiar image of nobility carried by them, which turns them into witnesses for the transition from the feudal society to the uprising princely state. Finally, this thesis propagates a new comprehension of the singular role played by the heralds at the end of the middle ages.

Les compendia des hérauts d'armes réunissent une diversité de textes étonnante. Ceux-ci traitent aussi bien de l'office d'armes en lui-même, que des cérémonies chevaleresques et de la société nobiliaire en général. Se présentant presque comme des manuels dédiés aux Hérauts d'armes, ces manuscrits, qui passèrent jusque là presque totalement inaperçus, constituent un véritable " kaléidoscope " de la culture nobiliaire de la fin du Moyen-Âge. Car les devoirs et les intérêts du héraut d'armes dépassaient largement l'héraldique au sens propre et s'étendaient non seulement à la diplomatie, mais également au cérémoniel de la cour. Avant tout il leur incombait de préserver et de propager l'honneur de la noblesse. Le but de cette étude était de faire connaître cette source prometteuse et d'en proposer une première classification ainsi qu'une première interprétation. Pour ces raisons, deux méthodes ont été utilisées. La première se consacre aux supports matériels de ces compendia et cherche à replacer chacun des manuscrits conservés dans leur contexte d'élaboration et celui de leur réception. La seconde s'attache au contenu des textes qu'ils referment en tentant de différencier leur enjeu pratique de leur portée symbolique, afin d'éclairer leur usage éventuel leur attrait présumé. La thèse est ainsi parvenue à démontrer comment la noblesse s'appropria ces compendia. Ce phénomène, explicable par une certaine image de la noblesse qu'ils véhiculent, fait de ces compendia des témoins privilégiés de la transition de la société féodale vers l'état princier. Enfin, la thèse illustre d'une façon nouvelle le rôle singulier des hérauts d'armes à la fin du Moyen-Âge.

Die Kompendien der spätmittelalterlichen Herolde vereinen in sich eine erstaunliche Vielfalt von Texten. Sie handeln ebenso vom Heroldsamt selbst, wie von den verschiedenen Zeremonien der Ritterschaft und der Welt des Adels im Allgemeinen. Mögen sie auf den ersten Blick auch wie schlichte Handbücher zur Ausübung des Heroldsberufes erscheinen - tatsächlich stellen sie wahrhaftes « Kaleidoskop » der spätmittelalterlichen Adelswelt dar. Denn die Interessen und Pflichten der Herolde gingen weit über die Heraldik im eigentlichen Sinne hinaus: Sie fanden ebenso in der Diplomatie eine wichtige Rolle wie im höfischen Zeremoniell. Vor allem aber kam es ihnen zu, die Ehre des Adels er bewahren und zu verbreiten. Das Ziel der Studie ist es, diese vielversprechende Quellengruppe zu erschließen und eine erste Klassifikation wie v.a. eine erste Interpretation ihrer Inhalte anzubieten. Hierfür wird auf zwei wesentliche Methoden zurückgegriffen. Die erste widmet sich v.a. den erhaltenen Handschriften als solches und fragt nach dem Kontext der Entstehung und Rezeption der Kompilationen. Die zweite hingegen setzt sich mit den Inhalten der einzelnen darin enthaltenen Texte auseinander und versucht zwischen deren praktischem Wert und symbolischer Bedeutung zu unterscheiden, um so ihren eventuellen Gebrauch und ihre mögliche Attraktivität zu erhellen. Die Arbeit konnte dabei zeigen, wie sehr der Adel selbst sich für diese Kompilationen interessierte und deren Überlieferung an sich zog. Ein, Phänomen, welches sich vor allem durch das ganz eigene, besondere Adelsbild erklären läßt, welches die Heroldskompendien propagierten und sie damit zu herausragenden Zeugnissen des Übergangs von der alten Lehnsgesellschaft zum modernen Fürstenstaat macht. Die Arbeit demonstriert damit auf eine ganz neues Weise die besondere Rolle, welche den Herolde in den gesellschaftlichen Umbrüchen des ausgehenden Mittelalter zukam.

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For reviews see:
H-Soz-Kult (Klara Hübner): http://hsozkult.geschichte.hu-berlin.de/rezensionen/2012-2-048
Sehepunkte (Sven Rabeler): http://www.sehepunkte.de/2012/05/20549.html
Historische Zeitschrift 295 (2012), S. 776f. (Malte Prietzel): http://www.oldenbourg-link.com/doi/pdf/10.1524/hzhz.2012.0594
Das Historisch-Politische Buch 60 (2012), S. 598-600 (Markus Frankl)
Revue historique 664 (2012), S. 950-953 (Karin Becker): http://www.cairn.info/landing_pdf.php?ID_ARTICLE=RHIS_124_0937
Le Moyen Age 118 (2012), S. 187f. (Henri Simonneau)

Fascination for antiquity had different aspects in medieval Italian comuni. Medieval cities could claim a Trojan or a Greek origin; ancient stones and epigraphs were reused for the construction of churches or public buildings. Relics of ancient times were recombined to transfer the glory of the past into the spirit of a new age. This operation of rearrangement had its parallel in the construction of literary or historical texts. Antiquity stood before the Italian city-dwellers not just in the shape of colossal ruins, but also in the form of historical narratives that celebrated the glory of the Romans and the Greeks. Excerpts from these ancient narratives were reinserted to transmit the deeds of the classical heroes to the new urban elite. Perhaps the most interesting case is Pisa in the eleventh and twelfth centuries. In this important maritime city Guido, most probably a deacon of the Cathedral, gave his compatriots a reconstruction of the ancient deeds by compiling his Liber de variis historiis, a compilation of historical and geographical texts. This paper will analyse Guido's strategies in compiling his work against the political and cultural background of this medieval comune.

Nel sistema di produzione e fruizione dei testi, la compilazione è nel Medioevo tra i modi che riscuotono maggiore successo non solo tra storiografi e enciclopedisti ma anche tra i narratori. Il contributo prende in esame le procedure di costruzione della prosa compilativa a partire dal caso specifico della Compilation arthurienne di Rustichello da Pisa. Dopo una ricognizione interpretativa sui contesti in cui Rustichello impiega il termine compiler, ci si sofferma su vari aspetti del “mestiere del compilatore”: la selezione dei materiali, il loro riposizionamento, gli adeguamenti discorsivi dal co-testo di origine a quello di arrivo.

Processes  of  compiling  are  of  great  importance  for  medieval  production aesthetics.  This  pertains  to  the  selective  and  restructuring  incorporation  of  ancient culture  into  medieval  thinking  as  well  as  to  contemporary  forms  of  textualisation which generate knowledge-based just as fictional literature. The discourse of ‘com-pilatio’, however, yet failed to be acknowledged as a creative process that is equal to ‘descriptio’  or  ‘rewriting’.  This  paper  aims  at  systematically  bringing  together  the previous reflections of research on ‘compilatio’ by drawing essential lines of devel-opment in order to open up possible chances for further research. In doing so, it is emphasised that the focus should be on the processual dimension of compiling. The creativity  of  ‘compilatio’  becomes  truly  visible  once  the  effects  of  emergence  are revealed, which come to light through the recontextualisation of given material.

This article shows how the Franciscan Convent of Mount Zion represented a centre of copy and production of texts throughout the last centuries of the Middle Ages, texts that were often consulted by pilgrims while visiting the Holy Land. Among these texts we can find lists of holy places and related indulgences, but also broader descriptions of the Holy Land of its history and people. It shows how the treatises on the Holy Land written and copied in the Jerusalem convent followed techniques of topographical description that had been consolidated within the Franciscan Order. The evidence points to a continuous process of copying of these texts and maps, and to their re-elaboration through different techniques of compilation.

A review of 15 Slavonic compilations, datable to the 9–11th c., and their interrelations. Their combined size of more than 400,000 words (ca. five times that of original compositions) recommends them for study, if only for the textual changes they overlay over their sources.

Le Roman d'Alexandre, redige en vers par Alexandre de Paris entre 1180 et 1185 n'est pas, comme les autres romans dits d'Antiquite (Thebes, Troie et Eneas) la traduction d'une source latine. L'ouvrage est une compilation de textes inspires de sources romanesques et historiques deja traduits ou ecrits en langue vernaculaire : un ouvrage aujourd'hui en grande partie perdu redige en franco-provencal par Alberic de Pisancon (fin XI e), une version decasyllabique anonyme (vers 1160) et ses continuations par Eustache et Lambert le Tort. Alexandre de Paris a agence ses sources en quatre parties, appelees « branches » selon la metaphore vegetale utilisee egalement dans le Roman de Renart, qui renvoie a l'exercice particulier de la compilation arborescente. L'arborescence est pourtant plus reduite dans le Roman d'Alexandre, contraint par la trame chronologique d'ensemble. Seule la branche II a pu connaitre une destinee independante dans les manuscrits....

Through this chapter the crafting of compilations is explored as an act, art, and expression of music making, illuminating the listeners’ and compilers’ positions as cocreators of meaning, function, and purpose. Music becomes repositioned and repurposed as found or sound objects that pass through Gaston Bachelard’s triptych of resonance, repercussion, and reverberations, a process of music speaking to so as to speak for individuals’ deeply personal and significantly meaningful experiences. The chapter addresses the question, “What motivates someone to partake in this personally
meaningful, vulnerable, and artistic endeavor?” Using Josef Pieper’s conceptions of leisure as celebration, an orientation toward the wonderful, and an act of affirmation, the chapter concludes that the creation and crafting of compilations (e.g., mix tape) affords poetic spaces for connection, enchantment, felt-aliveness, or what Max van Manen called an “incantative, evocative speaking, a primal telling, [whose] aim [is] to involve the voice in an original singing of the world.”

The purpose of this study is to examine the significance of the studies of the Hungarian composer and ethnomusicologist Bela Bartok, which became a basis for the ethnomusicology studies in Turkey during the nation state formation process starting with the establishment of the Republic in line with Turkish music revolution ideology. Nationalism, preservation of the traditional music, emphasizing the dominant ethnic identity, including folk music in the training music gained a place in the Turkish music life with the help of Bartok's studies. Thus, the aspects of the relationship of Bela Bartok's Turkey compilations to the music revolution in Turkey and the national music ideology, the importance of Bartok and his compilation styles in revealing the national and local music and his field researches' forming a basis for the ethnomusicology studies will be discussed in the scope of folk music studies in line with this purpose.

The relations between four 10th century Glagolitic compilations from available Slavonic texts show that the 2008 attribution of the Knjažij Izbornik to "the edification of the crown prince" is untenable. They also open up a perspective on 10th c. Bulgarian compilations as a corpus of enormous size, which preserves not only traces of texts not as yet identified in their original translation, but also reliable data as to the reception of the language in which the translations were cast.

The available measurements of the geo-mechanical properties of rocks in Southern Ontario and the neighbouring regions (New York, Ohio, Michigan, Indiana, Illinois, Wisconsin, and Minnesota) are summarized and presented. These measurements were compiled from available published data in the relevant literature and also from data that were collected from major underground projects in these regions. The compiled data are presented in three categories: measured in-situ stresses in different rock formations; calculated strength, stiffness and deformation including time-dependent deformation properties; and the measured dynamic properties of intact rock specimens from different rock formations in Southern Ontario and the neighbouring regions. The data presented in this paper can be used as a resource for preliminary evaluation of the geomechanical properties of the rocks in these regions. The presented geo-mechanical properties were generally obtained from in-situ measurements and from laboratory tests that were conducted on intact rock specimens from freshly excavated rock samples. Moreover, the time-dependent deformation properties of rocks in these regions were obtained from laboratory tests that were performed on intact rock specimens submerged in water. However, the influence of drilling fluids such as bentonite slurry and synthetic polymers solution, on the geo-mechanical properties of rocks is not evident and needs to be investigated.

From the back cover:
With an innovative approach that combines material media history, media theory, and literary poetics, this book reconstructs the great German writer Theodor Fontane's creative process.
Petra McGillen follows Fontane into the engine room of his text production. Analyzing a wealth of unexplored archival evidence--which includes a collection of the author's 67 extant notebooks, along with an array of other "paper tools," such as cardboard boxes, envelopes, and slips--McGillen demonstrates how Fontane compiled his realist prose works. That is, he assembled them from premediated sources, literally with scissors and glue, in an extraordinarily inorganic and radically intertextual manner that turned "writing" into a process of ongoing remix. By exploring the far-reaching implications of Fontane's creative practices for our understanding of his authorship, originality, and poetics, this book opens up a completely new way to think about his works and, by extension, 19th-century literary realism.
This conceptualization of authors' notebooks as creative tools makes a substantial contribution to scholarship on the history of writing media in several disciplines, from German studies and literary studies to media history, and to our understanding of the relationship between mass media and literary creativity in the late 19th century.

Table of Contents:
Introduction: Remediating Copy and Paste (pp. 1–32)
One. Media-Historical Coordinates: Literature in the Industrial Age of Print (pp. 33–70)
Two. Biography vs. Autobiography: The Making of a Compiler (pp. 71–120)
Three. A Living Archive: Generating Input (pp. 121–182)
Four. The Manufacture of Literature: Generating Output (pp. 183–256)
Coda: The Uncreative Writing of Mathile Möhring (pp. 257–276).

A study of 14th century manuscripts of the Roman de la Rose, with an extended look at Paris, BnF, 12786, one of only two extant manuscripts that give evidence of the single diffusion of Guillaume de Lorris's part of the Rose (the other one is Paris, BnF, fr. 1573). I argue that the compiler wanted to extend Guillaume's section by compiling it with 12 other texts that "complete" it in much the same way as had Jean de Meun. The article also contains reflections on the process of compilation in general.

Resumo Retomando a perspectiva de Manoel Luiz Salgado Guimarães a respeito da escrita da história no Brasil no século XIX como um campo de disputas em aberto, " um debate que se travava sem que o vencedor estivesse definido a priori " , buscamos recuperar uma forma de escrita da história relegada a segundo plano naquele contexto, presente em dois autores que tiveram obras suas consideradas plágio no Instituto Histórico e Geográfico Brasileiro: José Inácio de Abreu e Lima (1794-1869) e Alexandre José de Melo Morais (1816-1882). A leitura de plágio vinha da maneira como ambos utilizaram suas fontes; é nossa hipótese que ambos realizaram uma historiografia que se aproximava da compilação, gênero de longa duração, mas que seria descartado no século XIX enquanto possibilidade de oferecer um modelo para a escrita da história do Brasil. Palavras-chave Historiografia brasileira; Escrita da história; Historiografia do século XIX. Abstract Inspired by Manoel Luiz Salgado Guimarães' argument that the writing of history in nineteenth-century Brazil was an open field, " a debate without pre-defined winners " , this paper focuses on a form of history writing that was much criticized in that context, that can be found in two authors whose works were regarded as examples of plagiarism by the Brazilian Historical and Geographical Institute: José Inácio de Abreu e Lima (1794-1869) and Alexandre José de Melo Morais (1816-1882). Their works were considered to be copies of texts by other authors because of the way they used their sources and bibliography. The paper's hypothesis is that both authors produced a kind of historiography that is rather close to the genre of compilation-an old historiographical genre that was on the process of being rejected as valid model for the writing of history in nineteenth-century Brazil.

Jeudi 5 et vendredi 6 mai 2022 Jeudi 5 mai 9h30-10h-Accueil 10h-10h30-Introduction Fiona Lejosne, Oury Goldman, Maxime Martignon 10h30-12h-De recueil en recueil : lectures transversales et migration des textes Présidence de séance : Oury Goldman

Close examination of five compilations from texts previously translated into Slavonic (two of which are edited) and their interrelation leads to the recognition that they form part of a corpus with at least another eleven compilations (four of which are edited). This corpus, in size vastly surpassing that of original compositions in Slavonic, was written in Glagolitic script, which implies that it cannot have been created later than the beginning of the twelfth century.