Textual Studies

"Writing as Material Practice grapples with the issue of writing as a form of material culture in its ancient and more recent manifestations, and in the contexts of production and consumption. Fifteen case studies explore the artefactual nature of writing — the ways in which materials, techniques, colour, scale, orientation and visibility inform the creation of inscribed objects and spaces, as well as structure subsequent engagement, perception and meaning making.

Covering a temporal span of some 5000 years, from c.3200 BCE to the present day, and ranging in spatial context from the Americas to the Near East, the chapters in this volume bring a variety of perspectives which contribute to both specific and broader questions of writing materialities.

The authors also aim to place past graphical systems in their social contexts so they can be understood in relation to the people who created and attributed meaning to writing and associated symbolic modes through a diverse array of individual and wider social practices."

This essay, to be published in late 2016 in DSH in a corrected form with the DOI: 10.1093/llc/fqw043, is based on a paper given in July 2013 at a Canadian conference entitled Social, Digital, Scholarly Editing. The essay argues that calls in 2012 for crowd-sourcing digital scholarly editions misconceived the nature of the scholarly edition and its changing relationship to its readers. The relationship is argued to be essential. A survey of postwar scholarly editions reveals a shifting understanding amongst editors of the needs and capacities of readers. However, an increasing tolerance for the reporting of variant readings has come at the cost of shrinking print runs (some figures are provided). The digital environment is argued to offer a solution by operationalising a distinction between the archival and editorial functions of the edition. It should henceforth be understood as an argument directed at the reader about the archive. This conception is shown to open the way for editors to transgress those literary-historical and literary-critical domains where, because of the 100-year horizons of print editions, editors have traditionally been reluctant to tread.

Milton Francisco -CAVALCANTE, MôNiCA MAgALhãEs. Os sentidos do texto. são Paulo: Contexto, 2012, 176 p. O livro, objeto desta resenha, integra a Coleção Linguagem & Ensino, cuja coordenação ocorre aos olhos da professora Dra. Vanda Maria Elias. situa-se na fronteira da Linguística Textual, da Análise do Discurso e do Ensino de Texto, e direciona-se especialmente ao professor de língua portuguesa do ensino médio, mas também ao estudante de Letras ou Pedagogia. Um livro-contribuição para a formação do professor, que incorpora "orientações" da Linguística Aplicada.

The lyrical poetry of Giorgio Caproni has an intoxicating quality. His early poems seems to be invested from a mixture of aromas and scents, blasts and breaths, urges and yearnings, flames and voices, already introduced in "Come un’allegoria" (1936). "Ballo e Fontanigorda" (1938) enables the inclusion of the sea and its breezes, which is increased, developed and confirmed in "Finzioni"  (1941).
This essay aims to highlight such appearances as the boy in "Fine di giorno" and the maiden in "San Giovanbattista", and explores those characteristic Capronian moments when fleeting but concrete human pass by.

Este é um trabalho com enfoque no videogame como objeto cultural em interface com a literatura. Esta pesquisa se deu como continuidade ao trabalho de conclusão de curso de 2012. Nesta ocasião, buscou-se ampliar a pesquisa bibliográfica sobre teorias de estudos de videogames que pudessem responder às seguintes perguntas: a) O que a pesquisa contemporânea tem elaborado e proposto como possibilidades teórico-metodológicas para os estudos de videogames em sua especificidade como objeto cultural, para além dos estudos de narratologia?; b) Os videogames podem ser utilizados como fonte e objeto de apreciação e formação crítica?; c) É possível “ler” o videogame, dialogando com noções teóricas como representação, prática, apropriações, objeto cultural e comunidade cultural, estudadas por Roger Chartier? Depois de pesquisa bibliográfico-documental e sistemática análise do corpus formado por três jogos, Final Fantasy VII (1997), Grand Theft Auto San Andreas (2004) e God of War I (2005), verificou-se que os estudos humanísticos sobre o objeto cultural videogame têm se ampliado, mas que a contribuição dos estudos literários para o campo do game studies ocorre de forma escassa. Desse modo, propomos, em interface com as discussões histórico-culturais, novas chaves de leitura para esse objeto cultural.



This work focuses on the videogame as a cultural object in interface with literature. This research is the development of a final project from 2012. On this occasion, we sought to extend the literature review on theories of videogame studies to answer the following questions: a) Which contemporary research has been developed and proposed as theoretical and methodological possibilities for videogame studies in its specificity as a cultural object, in addition to narratology studies?; b) Can videogames be used as source and object for studies and critical constitution of oneself?; c) Can one “read” the game, establishing links with theoretical notions as representation, practice, appropriations, cultural object and cultural community as studied by Roger Chartier? After bibliographic and documentary research and systematic corpus analysis consisted of three videogames, Final Fantasy VII (1997), Grand Theft Auto San Andreas (2004) and God of War I (2005), it was verified that the humanistic studies of this object cultural have expanded, but the contribution of literary studies for the game studies field is modest. Thus, we propose, in interface with the historical and cultural discussions, new ways for reading this cultural object.

Dall’osservazione dello spazio urbano della città di Roma, effettuato fra gennaio 2011 e giugno 2012, sono stati censiti e documentati 247 graffiti. Ciò che viene presentato in questo saggio è una prima analisi tematica del materiale raccolto. A questa centrale riflessione se ne accompagnano altre incentrate sul contributo che lo studio del graffitismo, osservato e documentato nello spazio urbano e linguistico della capitale italiana, può offrire relativamente a tematiche quali, per esempio, il rapporto diamesico fra lingua scritta e parlata, l’analisi delle varietà giovanili, le interferenze del dialetto e la creazione di neologismi.

FROM THE BACK COVER: What is the essential nature of meaning? . . . . . This book answers by examining interpretive theories from the past and present. It finds that an historical struggle with meaning has been underway since the Reformation, a struggle that reaches crisis proportions in the 20th century. On the one hand, this crisis is mollified by Heidegger's hermeneutical phenomenology, which argues that we are always already in a meaningful relationship to the objects of the world. On the other hand, this crisis is exacerbated when phenomenology, structuralism, and aesthetic theory directly make meaning into an object of study. . . . . . . . . These historical developments culminate with the psychoanalyst Jacques Lacan, whose non-hermeneutical phenomenology delimits a cause of meaning said to be closely linked to the core of subjectivity. Intriguingly, Lacan's work reveals meaning to be sexual in nature. By integrating his notion of sexual difference with his work in discourse theory and topology, this book demonstrates how the subject's struggle with meaning can be suspended.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GENERAL DESCRIPTION: Broadly speaking, the majority of books on Jacques Lacan focus on the earlier periods of his career. They also tend to target the psychoanalytic clinical community, or else discuss his work in various political, social, and cultural contexts. But in almost all cases these books refrain from a detailed exegesis of his actual texts. They instead prefer to comment on his theoretical apparatus as a whole before turning to its practical implications. . . . . . This book positions itself against this grain. Firstly, it closely analyzes some half-dozen key Lacanian texts. This analysis is organized under a single thematic – the question of meaning – in order to advance the reader's understanding of the trajectory of Lacan's thought across his entire career, as well as to promote the book's thesis that the field of meaning can be suspended. Accordingly, an initial chapter takes up the hermeneutical tradition from Flacius onward. This is then supplemented by a chapter which surveys phenomenological, structuralist and aesthetic theories of meaning and their differing methods of textual analysis. Together these two chapters provide a unique context for the sustained analysis of Lacan's texts which begins in the third chapter, an analysis that forms the bulk of the book's content. This contextualization potentially widens the book's appeal to any scholar wishing to explore his relationship to those textual objects he interacts with on a daily basis. And because this book assumes the reader has little to no familiarity with Lacan, the reader will find patient explanations of the basics of his theories before slowly being led up to the more difficult theories of his late years. Again the argument is that Lacan has something to offer all scholars. His work is not just reserved for psychoanalysts. . . . . . It is with his late theories that the serious student of Lacan will find the book's most original contribution. For in the fourth chapter a detailed account is provided of how Lacan derived his infamous formulae of sexuation from Aristotelian logic. These formulae are then extensively discussed against the backdrop of interpretive theory and textual analysis, showing how these formulae capture much more than just the difference between the sexes. Strikingly, this difference is also found to run through meaning itself, something the final chapter aims to demonstrate. It does this by amalgamating three key components of late-Lacan: sexuation, discourse theory and his use of topological spaces. This amalgamation is a first in the literature. But this amalgamation is not just useful in demonstrating the book's thesis. It further suggests how seemingly divergent aspects of late-Lacanian theory can be made to work together.

The purpose of Matthew Roth’s (Messiah College) study, “The Composition of Nabokov’s Pale Fire,” is to bring to light some of the substantive and interesting features of the holograph manuscript (and subsequent, pre-publication revisions) of Nabokov’s Pale Fire, first published by G.P. Puntam’s Sons in 1962. The article provides a history of the novel’s composition, as well as transcriptions of substantive variants and omissions in the holograph manuscript, Nabokov’s pre-composition notes, and galley corrections. NOJ, Vol. IX, 2015.

"ABSTRACT:
    This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of sexuation integrated with his work in discourse theory and topology.
    Part I places this study into context by examining scholarship from the established fields of hermeneutics, phenomenology, (post)structuralism, aesthetic theory and psychoanalysis in order to extract out their respective theory of meaning. These theories reveal that an historical struggle with meaning has been underway since the Reformation and reaches near crisis proportions in the 20th century. On the one hand this crisis is mollified by the rise of Heideggerian-Gadamerian hermeneutical phenomenology which questions traditional epistemological approaches to the text using a new ontological conceptualization of meaning and a conscious rejection of methodology. On the other hand this crisis is exacerbated when the ubiquitous nature of meaning is itself challenged by (post)structuralism's discovery of the signifier which inscribes a limit to meaning, and by the domains of sense and nonsense newly opened up by aesthetic theory. These historical developments culminate in the field of psychoanalysis which most consequentially delimits a cause of meaning said to be closely linked to the core of subjectivity.
    Part II extends these findings by rigorously constructing out of the Lacanian sexuated formulae a decidedly non-hermeneutical phenomenological approach useful in demonstrating the sexual nature of meaning. Explicated in their static state by way of an account of their original derivation from the Aristotelian logical square, it is argued that these four formulae are relevant to basic concerns of textual theory inclusive of the hermeneutical circle of meaning. These formulae are then set into motion by integrating them with Lacan's four discourses to demonstrate the breakdown of meaning. Finally, the cuts and sutures of two-dimensional space that is topology as set down in L'étourdit are performed to confirm how the very field of meaning is ultimately suspended from a nonsensical singular point known in Lacanian psychoanalysis as objet a. The contention is that by occupying this point the subject frees himself from the debilitating grip of meaning."

For the panel, “Visualizing Communities through the Digital Humanities —Textual and Historical” organized by Dr. Dennis Denisoff. Annual Conference of the Northeast Modern Languages Association (NeMLA). Ryerson University, Toronto ON, April 30 – May 5, 2015.

Prior to the publication of P46 (P.Beatty II; LDAB 3011), at Heb. 11.37 the earlier critical editions printed one of the longer readings, though from Erasmus onwards the passage was subject to a considerable number of conjectural emendations. With P46 , the evidence for the reading ἐπρίσθησαν gained significant early manuscript support, thus impacting subsequent editorial practice and textual analysis. This study offers a reinvestigation of this textual problem and brings a new proposal based on a fresh evaluation of external and internal criteria.

Digitizing archival material is by now a standard part of archival practice. However, accurately describing and representing this material in textual descriptions is a challenge that cannot be addressed using the Rules for Archival Description, the current Canadian archival description standard. This thesis makes the case for collaborating with textual studies and digital humanities scholars to improve the framework within which descriptions are written, as well as for reaching out to members of the public and improving archival representation through crowdsourcing. The thesis also includes a case study examining the ways medieval manuscript fragments could be best represented in online description.

The article addresses the relationship between open and closed texts. The aim of the
study is to analyze the specifics of relationship between the open and closed text in the general context of communication between the author and the reader. While supporting mainly U. Eco’s concept in our article, we furnish it with the analysis to four approaches of openness/closedness, which we have singled out. Openness/closedness is conceptualized in several ways; firstly, as an ontological perspective reflecting the opposition between communication parameters, specifically the text-as-process and the text-as-outcome; secondly, as interpretation procedures that are commonly applied to the articulation of all texts, regardless of their form and content; thirdly, as the ontological and technological potential of works’ physical unfinishedness that invites the recipient to engage in a co-authorship (e.g., ‘the work-in-movement’ and hypertext); and fourthly, as the ability of a text to provoke multiple or unambiguous interpretations. We also demonstrate that the way of text’s functioning is determined not only by the addressee's attitude to it, but text itself, in return, stimulates this attitude, predisposing to it by its specificity (as informative or artistic, kitsch or art, hypertext or linear text, digital or analog). However, as we explain in the conclusion, the dialectic of openness/closedness can affect the distinctness of these dichotomies: The text can use its openness manipulatively, which turns it into a closed text.

Esta investigación revela, tomando como punto de partida los manuscritos originales de cuatro novelas, el importante sustrato de materiales textuales que los libros esconden. El estudio cuestiona que el formato tradicional de libro -el códice- sea el vehículo más apropiado para llevar ciertas ficciones al lector, y sugiere formatos innovadores que son más idóneos para las propuestas narrativas de los autores. El corpus analizado se compone de cuatro novelas de renombrados escritores iberoamericanos: Manuel Puig, Clarice Lispector, Ignacio Loyola Brandão y Carmen Martín Gaite.

This research reveals, taking as a starting point the original manuscript of four novels, the important substrate of textual materials that books hide. The study questions that traditional book format -the codex- is the most appropriate medium to convey certain fictions to readers, and it suggests innovative formats that are better suited to the authors’ narrative proposals. The analyzed corpus is composed of four novels by renowned Ibero-American literary figures: Manuel Puig, Clarice Lispector, Ignacio Loyola Brandão, and Carmen Martín Gaite.

فهرس المخطوطات الأصول مقصود به فهرس المخطوطات التي بخطوط مؤلفيها، وقد رصد 879 مخطوط بخط مؤلفها
الفهرس مرتب على القرون، وداخل كل قرن مرتب على أسماء المؤلفين بحسب الترتيب الهجائي
The Catalogue contains about 879 Arabic Autograph Manuscripts

The “Luciano Anceschi” collection in the Archiginnasio Library in Bologna preserves not only the letters of Montale to Anceschi, but also three witnesses of poems not registered in the critical edition L’opera in versi: Giorno e notte and the translations from Joyce and Blake. The first part of the work examines the typescript of Giorno e notte, which remained hidden for years between the pages of a copy of Finisterre that Montale gave to Anceschi: the witness now reveals interesting traces of text elaboration. The second part describes the witnesses of the translations and traces the history of their publication in journals. The letters of Montale help to reconstruct the circumstances that bind these witnesses to the Anceschi collection.

The self-portraits of Anguissola, Gentileschi, Labille-Guiard,
Cassatt, and Beaux, ranging across five centuries from the
fifteenth century of the Italian Renaissance to the beginning
of the twentieth century, present an unusual pictorial
perspective: the painter’s body leans towards the viewer,
invading the viewer’s space. Through physical closeness
and through the depiction of the act of painting, these works
attempt to persuade the viewer that apart from their
presentation of allegories of painting or genre scenes, what
lies at the heart of these works is the reinforcement of
gender identity as professionalism in art. The fact that the
number of paintings representing women painters painting
their own portraits is very small raises the question of why
these particular women painters chose such an unorthodox
formula of composition when they painted themselves
painting.
My paper examines two possibilities: first, the female
artists were more inclined to experiment with representation
while painting themselves since they did not necessarily
expect to sell the painting; and second, their occasional
clients were aristocratic women who wanted to make a
statement through the artwork they purchased.

Outi Paloposki and Kaisa Koskinen: ‘Reprocessing texts. The fine line between retranslating and revising.’ Across Languages and Cultures 11(1), 2010, 29–49.

Retranslations are a frequent object of study in Translation Studies. They can be used as data for a number of research problems, or retranslation can be studied as a phenomenon of its own. There are no large-scale surveys on retranslation, however, let alone surveys that would be coupled with in-depth case studies; no doubt due to the laboriousness and complexity of such task. Our own interest in the issue started from a small-scale project testing the so-called Retranslation Hypothesis, but gradually our research expanded to focus on the phenomenon as a whole. We have addressed three main areas: the extent and proportion of retranslation in Finland (including lists and timelines of retranslated literature); the motives for and reception of retranslations (publishers, readers); and finally, what happens to a text when it is retranslated (textual analysis). For this purpose, we have compiled three different sets of data in Finnish translated literature. These sets consist of synchronic data (retranslations and their reviews from the year 2000), diachronic data (retranslations of classics lists compiled in 1999 and 1887) and case studies (works by e. g. Victor Hugo, Nikolai Gogol, Astrid Lindgren and Juan Valera translated into Finnish). This paper presents an overview of the results of our own study, argues for a need for a comprehensive treatment of retranslation as a phenomenon, and discusses the implications of textual analysis to the understanding of what retranslation is. of The cases presented include Hugo's Les Miserables, Gogol’s Dead souls and Lagerlöf's Gösta Berling.

Bu çalışma, anlatıyı kurucu kavram olarak kullanarak 19. yüzyıl sonu İstanbul’da yayınlanan Servet-i Fünûn dergisindeki metin ve görselleri, medya, modernite ve toplumsal mekânın üretimi ilişkisi bağlamında tartışır. Eleştirel yeni bir okuma yapabilmek için, tez, arkeoloji ve montaj gibi metodolojik yaklaşımlar ile dergiye yaklaşır ve ‘tahayyüller, inşalar ve deneyimler atlası’nı üretir. Bu atlas, tereddüt ve çelişkiler içeren Osmanlı modernite deneyimini okumak için alternatif bir metodoloji –montajlar ile mikro-tarihyazımı– öne sürer.

***

Narrativizing Social Space in Servet-i Fünûn: An Atlas of Imaginations, Constructions and Experiences (1891-1910)

This research discusses the texts and images in Servet-i Fünûn magazine, published in Istanbul at the end of the 19th century, in the relationship between media, modernity, and the production of social space. The thesis digs out the magazine with methodological approaches of archeology and montage and produces ‘an atlas of imaginations, constructions and experiences’ to demonstrate a new critical reading. This atlas proposes an alternative methodology —micro-historiography with montages— for reading the hesitant and contradictory Ottoman modernity experience.

The centuries of Christian thought have struggled in the development of worship to come up with a proper formula that includes the entire nature of God.  Arius and Sebelius have offered their solutions which were rejected by the church councils.  Eastern and Oriental Christianity places a slightly more monotheistic emphasis on God but not quite to a modalistic  manifestations.  Yet, through church history, Jesus was not always understood to have pre-existence, says Dr. Dunn.  That revelation would come later with a fully developed Christology.  Is it possible we need to develop an incarnation as fulfilled through the enthronement or coronation aspects of divine kingship to explain "Thy Throne oh God" found in Hebrews 1:8?  So let's have a new look at the doctrine of the exultation of Christ as well as the Saints through the coronation of our divine kingship which is yet to come in the New World.

У статті вперше опубліковано фрагмент первісної редакції (1846) роману Пантелеймона Куліша «Чорна рада: Хроніка 1663 року», що не увійшов до остаточного тексту (1857). Російськомовний відповідник фрагмента міститься в журнальній публікації «Киевские богомольцы в XVII столетии» (1846). Текст являє собою діалог між гетьманом Якимом Сомком, запорожцем Кирилом Туром, полковником-священиком Іваном Шрамом та його товаришем Матвієм Череванем. Головним персонажем тут є Кирило Тур, який пророкує розправу бідних над запанілою козацькою старшиною і віщує страту Сомка. Зроблено аналіз уривка в інтерпретаційній і текстологічній площинах з відповідними джерелознавчими методами. Акцентовано на постаті Кирила Тура. Наведено характеристичні оцінки цього персонажа, які зробили сам автор, перші критики (Микола Костомаров) і дослідники (Віктор Петров, Василь Івашків, Євген Нахлік). Викреслений з остаточного тексту фрагмент прикметний під оглядом аналізу творчого метода Куліша як автора «Чорної ради». Текст потверджує тезу В. Петрова про те, що письменник «будує свій роман широкими концентричними замкненими мотивними колами», вживаючи методу спростувань і протиставлень. У текстологічному плані відсутність фрагмента в остаточній редакції виявляє ефект «замиленого ока» при її прочитанні. Репліка Череваня (тільки на Січі вміють «жить по-людськи») у відповідь на твердження Тура (що запорожці п’ють горілку великими коряками) і реакція Тура на Сомкові слова, на які він не зважає (пори те, що вони містять закид в бік запорожців, які, мовляв, сидять по шию в горілці ‒ «Філозофи, вражі діти! Дивляться на божий мир із бочки, тілько не з порожньої, як той Діогенес, а по шию в горілці»), в остаточному тексті є менш мотивовані, ніж у первісній редакції. Також встановлено джерело Турового висловлювання, що на Січі козаки здобич розділяли на три частини, віддючи її на церкву, військові потреби і прогулювали. Автор вжив алюзію до думи про Самійла Кішку. Аналіз образу Кирила Тура в наведеному уривку є перспективним з огляду на майбутнє комплексне дослідження теми, яке стане можливим після видання усіх чорнових текстів обох різномовних версій роману в Повному зібранні творів Куліша.

Textual Studies describes a range of fields and methodologies that: evaluate how texts are constituted both physically and conceptually; document how they are preserved, copied, and circulated; and propose ways in which they might be edited to minimize error and maximize the text’s integrity. The vast temporal reach of the history of textuality – from oral traditions spanning thousands of years, and written forms dating from the fourth millenium BCE, to printed and digital text forms – is matched by its geographical range covering every linguistic community around the globe. The practice of giving close attention to material text-bearing documents and the reliability of their written or printed content stems from antiquity, paying closest attention to sacred texts as well as to legal documents and literary works that helped form linguistic and social group identity. With the incarnation of the printing press in the early-modern West, the rapid reproduction of text matter in large quantities had the effect of corrupting many texts with printing errors, as well as providing the technical means of correcting such errors more cheaply and quickly than in the preceding scribal culture.

From the eighteenth century techniques of textual criticism were developed to attempt systematic correction of textual error, again with an emphasis on scriptural and classical texts. This ‘golden age of philology’ slowly widened its range to consider such foundational medieval texts as Dante’s Commedia, as well as, in time, modern vernacular literature. The technique of stemmatic analysis – the establishment of family relationships between existing documents of a text – provided the means for scholars to choose between copies of a work in the pursuit of accuracy. In the absence of original documents (manuscripts in the hand of Aristotle or the four Evangelists, for example) the choice between existing versions of a text were often made eclectically – that is, drawing on multiple versions – and thus were subject to such considerations as the historic range and geographical diffusion of documents, the systematic identification of common scribal errors, and matters of translation.

As the study of modern languages and literatures consolidated into modern university departments in the later nineteenth century, new techniques emerged with the aim of providing reliable literary texts free from obvious error. This aim had in common with the preceding philological tradition the belief that what a text means – discovered in the practice of hermeneutics – was contingent on what the text states – established by an accurate textual record that eliminates error by means of textual criticism. The methods of textual criticism took several paths through the twentieth century: the Anglophone tradition centred on editing Shakespeare’s works by drawing on the earliest available documents – the printed Quartos and Folios – developing into the Greg-Bowers-Tanselle copy-text ‘tradition’ which was then deployed as a method by which to edit later texts. The status of variants in modern literary works with multiple authorial manuscripts – not to mention the existence of competing versions of several of Shakespeare’s plays – complicated matters sufficiently that editors looked to alternate editorial models. Genetic editorial methods draw in part on German editorial techniques, collating all existing manuscripts and printed texts of a work in order to provide a record of its composition process, including epigenetic processes following publication. The French methods of critique génétique also place the documentary record at the centre, where the dossier is given priority over any one printed edition, and poststructuralist theory is used to examine the process of ‘textual invention.’ The inherently social aspects of textual production – the author’s interaction with agents, censors, publishers, printers, and the way these interactions shape the content and presentation of the text – has reconceived how textual authority and variation are understood in the social and economic contexts of publication. And finally the advent of digital publication platforms has given rise to new developments in the presentation of textual editions and manuscript documents, displacing copy-text editing in some fields such as Modernism Studies in favour of genetic or synoptic models of composition and textual production.

Il quaderno, con il quale si propongono, oltre ad una breve prosa e alcuni versi di Renato Majolo, i risultati di una prima ricognizione del Fondo a lui intitolato, è stato ideato e curato da Alessandro Ferraro, autore anche di un ampio saggio. Il quaderno inoltre ospita lettere inedite di Umberto Saba, Biagio Marin e Corrado Govoni, che sono solo alcuni dei corrispondenti di Renato Majolo (Camogli, 1912 - Imperia, 1978), oramai dimenticato - e forse nemmeno mai conosciuto - poeta, giornalista e narratore, saggista ed editore, appassionato d'arte e direttore di alcune gallerie.

En estas páginas me he querido enfrentar con un problema textual que presenta la letrilla Pastorçico nuevo, I de color de acor 1 {Corpus 2 , n°1098) que transcribo infra. Se trata de la lección azor del verso 2 que, a lo largo de los siglos, creó unas cuantas dudas interpretativas tanto a los copistas de la época que tendieron a trivializar la lectura como, sucesivamente, a los críticos que la estudiaron. Pero antes de entrar en tema haré una breve introducción sobre la transmisión textual y el contexto literario del poema.

Amalia Guglielminetti (1881-1941) fu denunciata due volte per oltraggio al pudore: nel 1928 per il romanzo La rivincita del maschio e nel 1934 per un breve articolo dedicato all’attore americano Jack La Rue. Questo saggio, testi originali e verbali giudiziari alla mano, è la ricostruzione dei due processi che si svolsero a Torino e a Milano e che si conclusero sostanzialmente con due assoluzioni. /// Amalia Guglielminetti (1881-1941) was reported twice for outrage to public decency: in 1928 because of the novel La rivincita del maschio and in 1934 for a short article about the American actor Jack La Rue. This essay, with original texts and judicial records in hand, reconstructs the two trials that took place in Turin and Milan and which ended essentially with two acquittals.

La prima parte de "La rivincita del maschio" apparve a puntate fra il 1920 e il 1921 su «Il Secolo Illustrato», poi nel 1923 Lattes pubblicò la versione definitiva, che fu tradotta in spagnolo e croato nel 1925, e riproposta ai lettori italiani nel 1928. La Guglielminetti guadagnò, nell’ordine, un’accusa per oltraggio al pudore, un’assoluzione piena e un’enorme pubblicità. Nonostante questo il romanzo scomparve dalla circolazione e oggi, a distanza di 85 anni, scarsamente presente nelle biblioteche e quasi introvabile presso gli antiquari, torna in libreria grazie a una nuova edizione curata da Alessandro Ferraro che offre un ampio saggio su Amalia Guglielminetti e una bibliografia essenziale dei suoi scritti, oltre all'articolo "Una lira di poesia" di Giorgio Caproni dedicato all'autrice torinese.

Il saggio esamina il ruolo di ironia e umorismo nella Coscienza di Zeno di Italo Svevo. Ironia e umorismo sono considerati a livello di discorso e intesi come funzioni della cooperazione interpretativa del lettore. La cooperazione è guidata dal testo orientando il lettore in una posizione cognitiva peculiare, tanto riguardo il testo stesso che la propria personale esperienza. Ironia e umorismo corrispondono, nel discorso di Zeno, all’ambiguità e alla comicità della storia. Infatti, a livello di storia, è la cooperazione interpretativa del lettore a giustificare l’ambiguità.
Il saggio sottolinea alcuni aspetti dell’ironia e dell’umorismo: la loro intrinseca tendenziosità retorica, il fatto che il significato dell’espressione ironica o umoristica coincide più con lo sforzo cooperativo e interpretativo che con il significato esplicito, la loro funzione di ‘modificatori del contesto’.
Nel saggio vengono esaminati dieci esempi tratti dal quinto capitolo, mettendo in evidenza come ironia e umorismo abbiano nella Coscienza di Zeno lo scopo di produrre incertezza sia riguardo la storia narrata da Zeno, sia riguardo alcuni elementi di credibilità comuni alla storia narrata e al mondo, sia riguardo la coerenza stessa fra la storia narrata e il mondo di riferimento esterno a essa.
In conclusione, nella Coscienza di Zeno ambiguità e incertezza, espressi in forma ironica e umoristica, hanno la funzione di addestrare il lettore a concepire una forma di incoerente coerenza, di improvvisazione di senso a partire da una coerenza globale che non tiene – ad uno sforzo di incessante creatività.

William Blake’s work demonstrates two tendencies that are central to social media: collaboration and participation. Not only does Blake cite and adapt the work of earlier authors and visual artists, but contemporary authors, musicians, and filmmakers feel compelled to use Blake in their own creative acts. This book identifies and examines Blake’s work as a social and participatory network, a phenomenon described as zoamorphosis, which encourages — even demands — that others take up Blake’s creative mission. The authors rexamine the history of the digital humanities in relation to the study and dissemination of Blake’s work: from alternatives to traditional forms of archiving embodied by Blake’s citation on Twitter and Blakean remixes on YouTube, smartmobs using Blake’s name as an inspiration to protest the 2004 Republican National Convention, and students crowdsourcing reading and instruction in digital classrooms to better understand and participate in Blake’s world. The book also includes a consideration of Blakean motifs that have created artistic networks in music, literature, and film in the twentieth and the twenty-first centuries, showing how Blake is an ideal exemplar for understanding creativity in the digital age.

Письменные источники - это документы, с которыми связана история как наука. Документы истории и история документов тесно переплетены. Автоматический контент-анализ и компьютерная обработка исторических текстов обрели свое собственное место в мире методов источниковедения и конкретно-исторического анализа.

This paper is primarily oriented to young scholars interested in comparative studies involving diverse genres, multiple modes of representation or evidence from multiple cultures in order to help navigate a common problem area.  It outlines certain distinctions that are important for the study of traditions.  These are distinctions between the formal, surface level of representation (e.g. language, iconographic symbols), that which is represented or communicated (e.g. narrative) and more abstract conceptual models (e.g. beliefs about mounds or hills being inhabited by invisible people). 

Discussion is illustrated through a number of briefly addressed examples several of which will be familiar to Old Norse scholars, including Thor's fishing adventure with the World Serpent.

Whilst Digital Humanities (or, more clearly, humanities computing) are more clearly defined as a technology-driven discipline that already enjoys a number of university courses and textbooks, digital philology appears to be more difficult to circumscribe. In a diverse range of academic fields, the latter should consider traditionals issue in textual criticism under the new perspective of the digital production, publication and circulation of texts. Particularly when addressing textual criticism, a crucial issue is the definition of the aims, methods and deontology of the publication of authoritative texts, both in paper and digital. Through a general overview of such problems, this essay suggests that, following the acquisitions of Anglo-American editorial theory, Italian philology
should pay more attention to abroad methodological issues.

Quanto mai attuale e universale, la parola 'conflitto' è orizzonte semantico che rimanda a molteplici categorie interpretative, di natura sincronica o diacronica, esogena o endogena, di forgia collettiva o individuale, di presagio avverso o propizio. Accogliendo le possibilità multidisciplinari e multidimensionali che l'argomento offre nelle sue composite valenze, il VII Convegno dei Dottorandi e Dottori di Ricerca vuole essere, in continuità con le precedenti edizioni, un'occasione di confronto e scambio proficuo tra studiosi di interessi disciplinari diversi. Un'opportunità di ricerca che, nel prendere le mosse dalla ricorrenza del centenario della Grande Guerra, oltre che dalla triste ricognizione dei tanti conflitti internazionali della storia presente, intende allargare i confini dello studio anche ai significati più ampi e traslati del tòpos bellico. A partire dalla guerra come evento storicamente inteso, e di volta in volta indagato nelle specifiche implicazioni geo-politiche dei diversi contesti spazio-temporali di riferimento, il Convegno vuole affrontare anche le rappresentazioni del motivo militare nelle coscienze e nell'arte come simbolo archetipico al di là di ogni contingenza, fino ad arrivare alle declinazioni più figurate del sostantivo nel conflitto interiore e psicologico, nello scontro intergenerazionale, nella guerra delle idee e delle ideologie come contrasto, negazione o superamento di canoni e paradigmi culturali. Le giornate di studio saranno articolate, quindi, in tre sessioni tematiche, di seguito riportate:

A comprehensive survey of works composed by Pachomius the Serb shows that the hagiographer gave much attention to the topic of the veneration of the Mother of God but was far from addressing it in all of his texts. The article examines the rendering of this topic in the works written by Pachomius in the 1430s— 1460s: the Life of Sergius of Radonezh, the cycle of texts devoted to the Novgorodian icon of the Mother of God of the Sign (“Znamenie”), the Life and Service of Cyril of Beloozero, the Life of Euthymius ofNovgorod, and the Panegyric for the feast of the Intercession of the Theotokos (“Pokrov”). Episodes of apparition of the Virgin in Pachomius’s lives were probably determined by the existing tradition of veneration of particular saints: in the Life of Sergius of Radonezh the apparition becomes a sign of the Theotokos’s patronage over the monastery, while the Life of Cyril of Beloozero mostly reveals the function of the Mother of God as a guide “showing the Way”. In the “Znamensky” cycle, the Theotokos theme is at the core. The article qualifies the attribution of the texts and the time when this cycle was written. It also reveals special features of its novel, different from the previously existed, concept of the feast: a new role of the Theotokos and elaborated topic of the veneration of icons. The study shows that the Theotokos theme in Pachomius’s works is often connected with the Akathist Hymn and related texts. It is suggested that the Mount Athos oral story tradition might have influence on these texts.

Ciclo di incontri pensato da Alessandro Ferraro (Università di Genova) per gli studenti dell'Università Complutense di Madrid per leggere insieme tre romanzi importanti del primo Novecento italiano: "Canne al vento" di Grazia Deledda, "Sorelle Materassi" di Aldo Palazzeschi e "Le due zittelle" di Tommaso Landolfi. Un percorso tematico ben preciso (che gira intorno alla presenza di sorelle non sposate alle prese con una ingestibile figura "maschile" che inquieta il loro incolore equilibrio esistenziale), che offre, però, molteplici spunti dir riflessione, sulle forme e sui contenuti dei tre testi, come sulle loro fonti (per fa un esempio: "Le vergini delle rocce" di d'Annunzio).