Medieval Authorship

Working with biblical sources for medieval literature can be a messy and time-consuming affair. The problem is that we know so little about the precise versions of the Bible that authors consulted when composing translations, adaptations, and commentaries. Not only are many of the surviving biblical translations anonymous, but they are also often preserved in late manuscripts, a process that masks whatever information we might otherwise have had about the libraries and textual resources available to a particular author, translator, or institution. In the early English tradition, one feels an almost maddening sense of doubt: Was the main biblical source the Vulgate, or was it a hybrid version, crossbred with another tradition (most commonly the Vetus Latina)? Did obscurities in a translation or adaptation evolve from mediating commentaries, glosses, poems, or liturgical sources? What about the influence of Latin translations derived from other biblical traditions, such as the literal Greek translations of Aquila, Symmachus, and Theodotian, or even a Latin translation of Josephus's Antiquitates Judaicae? Without this information, how can one hope to gauge which discrepancies are authorial? Naturally, the more creative the adaptation, the more difficult it is to be certain about a text's primary sources. 1 1 The field therefore owes a tremendous debt to scholars such as Charlie Wright, whose sleuth work has turned up significant and obscurantist biblical, apocryphal, and patristic sources for Old English texts, and in the process has helped to deepen our understanding of early English biblical and intellectual traditions. We must also thank those who have undertaken and initiated the important detective work of sorting out known and hypothesized English biblical genealogies. The scholarship is vast, but it would be remiss not to mention the work of Marsden, The Text of the Old Testament; Remley, Old English Biblical Verse; and ASM.

The expulsion of mankind’s progenitors from Paradise is a dramatic event which thrusts humanity into torturous exile from the presence of God that is marked by perpetual longing for life’s lost happiness and continuous striving to achieve the ultimate goal of redemption and return to God’s glory. Paradise is a mystical place whose beauty and plenty medieval Christians try to describe in various genres of writing such as literal exegesis, allegorical interpretation, and poetic imagery. This paper examines two poetic accounts of what God’s Garden might have looked like offered by Peter Riga (d. 1209) in his Floridus aspectus and by Alexander Neckam (d. 1219) in his Suppletio defectuum. These two accounts represent a novel way of engaging with the classical topos of locus amoenus by using a typically 13th-century encyclopedic approach of describing the richness of creation, in which Paradise takes a prime position not only because of its existence at the beginning of time, but also because it represents a lost state of innocence which humanity hopes to regain at the end of times. Thus, paradoxically the yearning for the lost paradise is longing for a future that is both predestined by the past and shaped by the present.

Przytoczenie jako problem wydawcy staropolskich tekstów religijnych * W ramach grantu Narodowego Centrum Nauki "Początki języka polskiego i kultury religijnej w świetle średniowiecznych apokryfów Nowego Testamentu" przygotowywane jest nowe wydanie wszystkich staropolskich apokryfów Nowego Testamentu. Teksty te, niezwykle ważne dla polskiej kultury i początków polszczyzny pisanej, w całości nie doczekały się dotychczas edycji. Istotne jest tu sformułowanie "w całości". Wiemy przecież, że niektóre z nich (jak choćby Rozmyślanie przemyskie) były wydawane więcej niż raz 1 , inne -we fragmentach -znalazły się w rozmaitych antologiach (jak np. Cały świat nie pomieściłby ksiąg). W ramach grantu zostaną sporządzone krytyczne edycje wszystkich dziewięciu tekstów. Są to zachowane w rękopisie Rozmyślanie przemyskie (RP) 2 , Sprawa chędoga o męce Pana Chrystusowej (SCh) 3 , Rozmyślania dominikańskie (RD) 4 , Karta Rogawskiego (KR) 5 , List Lentulusa (LL) 6 , Ewangelia Nikodema (EN) 7 i Historyja Trzech Kroli (HTK) 8 oraz dwa druki, tj. Żywot Pana Jezu Krysta Baltazara Opeca (ŻPJK) 9 i Żywot świętej Anny (ŻSA) 10 . Transkrypcje będą sporządzone według jednolitych zasad, ustalonych na potrzeby tych właśnie tekstów, tj. uwzględniających ich specyfikę, co ostatnio postulowali Tomasz Mika i Olga Ziółkowska: […] choć interpunkcja transkrypcji zawsze będzie miała charakter interpretacyjny, to można tę interpretację uprawdopodobnić. W tym celu należy wziąć pod uwagę zbiór czynników oraz przeprowadzić ich hierarchizację koniecznie w odniesieniu do każdego wydawanego tekstu (typu tekstów) 11 .

L'ERC AdG LAUDARE, progetto che afferisce all'Università di Trento e al Gran Sasso Science Institute dell'Aquila, ha lo scopo di raccogliere in un database testi e melodie della lauda italiana dal xiii al xvi secolo. In questo articolo, che fornisce un'impostazione concettuale per il progetto, gli autori rilevano dapprima la varietà delle fonti laudistiche; suggeriscono quindi una strategia per la costituzione di un database relazionale che rappresenti efficacemente e fedelmente le qualità intrinseche del repertorio. In considerazione dell'identità 'debole' del genere laudistico, sempre soggetto alle innovazioni di copisti ed esecutori, si propone di individuare come principio del database la singola occorrenza laudistica di ciascun testimone, e non una comprensiva identità testuale e musicale, troppo astratta e di difficile ricostruzione filologica. Il compito di rappresentare le relazioni storiche tra testi, musiche, fonti e agenti del repertorio è demandato agli indici e alle funzioni di ricerca del database. parole chiave lauda, manoscritti e stampe, database, cantasi come, contrafactio

L'articolo, presentato al Convegno internazionale di Barcellona 'Le donne/a di Dante' dell'ottobre 2024 a Barcellona discute la presenza femminile nelle opere dantesche, dalle Rime alla Commedia, mettendo in evidenza le tre tipologie delle donne rappresentate e che culminano in Beatrice, guida e ispiratrice della Commedia.

Wie setzt sich ein ‚ich‘ zusammen, wen schließt ein ‚wir‘ ein oder aus, und wie richtet ‚es‘ sich an ein ‚du‘ oder ‚sie‘? Keine andere Wortgruppe findet in gesellschaftspolitischen Diskussionen derzeit so viel Beachtung wie die Personalpronomen, denn mit ihnen steht der angemessene Ausdruck unterschiedlicher Konzepte von Identität und Personalität auf dem Spiel.

Wenig Aufmerksamkeit erfährt jedoch bislang der mögliche Beitrag verschiedener wissenschaftlicher Disziplinen zu den mitunter hitzig geführten Debatten. Hier setzt der Band an: Er versammelt Ansätze aus Literaturwissenschaft, Linguistik, Philosophie, Psychoanalyse, Gender Studies, Soziologie und Wissenschaftsgeschichte zu einem interdisziplinären Austausch über den Stellenwert der Pronomen in der sprachlichen Konstruktion und Ordnung sozialer und kultureller Wirklichkeiten. In dieser Perspektive erweisen sich die Personalpronomen als listige „Wechselwörter“, die sich durch Beweglichkeit und Unzuverlässigkeit auszeichnen.

This article explores the theme of the journey in Abū Bakr b. Muḥsin Bā ʿAbbūd al-ʿAlawī's al-Maqāmāt al-hindiyyah (the Indian assemblies), completed in 1111/1715. Drawing from the concept of the palimpsest as used by Abdelfattah Kilito to define the structure of the narrative, the article argues that it comprises layers of separate but interconnected narratives accommodating divergent and at times contradictory viewpoints on the journey motif that can emerge in isolation in a single story. The theme of the journey, embedded within a repetitive narrative, thus unfolds through various refractions and variations, some repeating and thus corroborating a view, others varying and thus contributing to the mosaic of the theme's image. This process of thematic fragmentary development mirrors the inscription and re-inscription of the journey motif, presenting different perspectives on space, travel, and belonging. Putting together this palimpsestuous layering of narration, the theme of travel gives way from a cry for a lost waṭan homeland to the transfer of the waṭan within the subcontinent.

This was the keynote address for the 2010 Isaac conference at Bloomington.  I dedicated it to the organizer, Giovanni Zanovello, as a gesture of gratitude for this honor, as well as for years we worked together. Since one can sound only one keynote (at least if the music is in one key), I wanted this presentation to strike a single note, a single them. Seeing that the topic was Heinrich Isaac, the obvious theme was the Signature, as a concept ranging from its most concrete sense (as in the scrawl “Yzaac de manu sua”) to its widest metaphorical reach (as in the signature musical style of Isaac identified by Glarean and Cortesi). There are few Renaissance composers whose counterpoint is as satisfying to listen to as Isaac.

Il versante enigmistico della poesia di Dante, la sua inclinazione al registro oracolare che parodia le profezie della Bibbia, celebra il suo trionfo in questo canto, con una serie di oscuri vaticinî che hanno sfidato e continuano a sfidare l'intelligenza critica dei lettori.

This article examines select passages from the twelfth-century Vézelay Chronicle that may shed light on the identity of the otherwise unknown “Godefroiz de Leigni,” the continuator of Chrétien de Troyes’s Chevalier de la Charrette. The possible identification of this “Godefroiz” intersects questions that have long captivated both readers and scholars of the Charrette, including the historicity of its authors, the text’s narrative structure, the cultural politics of Marie de Champagne’s patronage, and the broader dynamics of medieval literary creation and continuations. The first part of the article traces the itinerant activities of “Gaudefredus de Latiniaco,” a renegade monk and skillful orator from Lagny-sur-Marne. The second part examines the plausibility that this former monk of Vézelay later completed the Charrette, drawing on evidence from his clerical status, connections to Marie de Champagne’s intellectual circles, and Vézelay’s literary milieu. It also explores the Protean nature of the continuation, which merges seamlessly with Chrétien’s style and complicates traditional notions of medieval authorship.

https://www.brepols.net/products/IS-9782503608976-1

El jurista y celestinista José Guillermo García Valdecasas ha publicado recientemente en la colección Literatura y Sociedad de la prestigiosa editorial Castalia im voluminoso estudio con edición de La Celestina en el que defiende la pureza de un hipotético texto original de la obra previo a una extensa y, según él, empobrecedora intervención de Femando de Rojas'. JGGV ya había anticipado estas ideas en su estudio titulado "Las increíbles desventuras de una obra maestra", en El jardín de Melibea^. El punto de partida es la edición de la Comedia de Burgos de 1499, como se afirma en p. 14. Se recuerda (sin mencionarlo al principio) a Norton y su importante descubrimiento de las falsificaciones editoriales y se aclara que la obra original era "incomparablemente más bella". Todo lo demás según JGGV es un "edificio sin cimientos" que se conserva como una doctrina sin base científica {ibid.). La idea se repite muchas veces a lo largo del libro: "Toda idea nuestra sobre La celestina, desde la más elemental a la más elaborada, procede de la versión corrupta" (p. 15).

A lo largo de los años los críticos literarios han tratado de dar respuesta a las interrogantes planteadas por el proceso compositivo de Celestina –auto del «antiguo autor», Comedia de 16 autos, Tragicomedia de 21 autos, Auto de Traso– y su autoría. ¿Es Celestina el producto de un único autor, o de dos o más autores? ¿Qué relación tienen los «antiguos papeles» (primer auto) con el resto de la Comedia? En relación al primer auto, ¿podemos confirmar la posible autoría de alguno de los autores propuestos: Cota, Mena, Martínez de Toledo, Lucena? ¿Quién compuso los cinco autos añadidos en la Tragicomedia? ¿Qué relación tiene el autor del Auto de Traso con el del resto de la obra? El presente artículo continúa la larga tradición de análisis de los rasgos lingüísticos para la determinación de la autoría, utilizando en esta ocasión técnicas de análisis estilométrico para examinar individualmente cada una de las hipótesis que se han barajado sobre la autoría de Celestina.

My monograph, published in 2023, is now available open-access.

Abstract:
Der Band schlägt einen neuen methodischen Ansatz in Bezug auf sog. 'frauenmystische' Texte des Mitelalters vor. Hierbei rückt die handschriftliche Überlieferung verstärkt in den Fokus und verortet diese in ihre jeweiligen kultur- und literaturhistorischen Kontexte. Am Beispiel der oberdeutschen Überlieferung des ‚Liber Specialis Gratiae‘ der Mechthild von Hackeborn, einem der weitverbreitetsten mystischen Texte des Mittelalters können hierbei Einsichten in spezifische Rezeptionssituationen gewonnen werden, die anderen Texten aufgrund der schlechten Überlieferungssituation verschlossen bleibt.

This conference presentation explores the portrayal of social deviance and criminality in two works of classical Arabic literature, the Maqamat of Badi' al-Zaman al-Hamadhani (d.  398/1008) and the Kitab al-Faraj ba'd al-Shidda of Abu 'Ali al-Tanukhi (d. 384/994).  It argues that the portrayal of criminality and deviance in these two works is a reflection of wider developments in 'Abbasid society at the time they were composed.

This paper argues that the non-normative purpose of monastic customaries from before the end of the eleventh century does not mean that these documents lacked an authoritative voice. Authors’ claims to authority came in many different forms, most of which were not normative (by which is meant here literally prescriptive and institutionally focused) in the modern sense of the word. And although customaries from this early period were commonly anonymized and references to a commissioner or host institution were often removed or outright omitted, neither of these characteristics completely erased such claims to authority. These arguments are explored through a case study of Thierry of Fleury/Trier/Amorbach’s early eleventh- century Consuetudines Floriacenses antiquiores, which in addition seeks to demonstrate the text’s embedding in a culture of reflection and debate on Benedictine “best practice” and morals.

Fischer attributed three anonymous motets to Landini as doubtful works: Florencia mundi speculum (SL and Egidi), Leonarde, pater inclite (Egidi), and Marce Marcum (GR). Von Fischer's attribution was retained in the 2001 revision by Gianluca D'Agostino. I see no reason to support this attribution, nor to assume that these were among the five motets. See Kurt von Fischer, s.v. "Francesco Landini", in New Grove I and Kurt von Fischer / Gianluca D'Agostino, s.v. "Francesco Landini", in New Grove II.

El tema de la autoría y si fueron uno (Fernando de Rojas) o más escritores los creadores de la Celestina es una polémica larga en la historia literaria. En este trabajo pongo en entredicho que el bachiller Fernando de Rojas de la Puebla de Montalbán, perteneciente a una familia de conversos que llegó a ser Alcalde de Talavera, sea realmente su artífice. Para ello hago un repaso de cuáles han sido las diferentes opiniones sobre la autoría de la Celestina a lo largo de los siglos hasta el presente, en donde las dudas superan con creces las certezas, cuando multitud de críticos (entre ellos me incluyo) ya no creen que Rojas y un primer Autor (Mena y/o Cota) sean los verdaderos progenitores de la Comedia y su ampliación a Tragicomedia, tal como se afirma en los versos acrósticos.

espanolEl tema de la autoria y si fueron uno (Fernando de Rojas) o mas escritores los creadores de la Celestina es una polemica larga en la historia literaria. En este trabajo pongo en entredicho que el bachiller Fernando de Rojas de la Puebla de Montalban, perteneciente a una familia de conversos que llego a ser Alcalde de Talavera, sea realmente su artifice. Para ello hago un repaso de cuales han sido las diferentes opiniones sobre la autoria de la Celestina a lo largo de los siglos hasta el presente, en donde las dudas superan con creces las certezas, cuando multitud de criticos (entre ellos me incluyo) ya no creen que Rojas y un primer Autor (Mena y/o Cota) sean los verdaderos progenitores de la Comedia y su ampliacion a Tragicomedia, tal como se afirma en los versos acrosticos. EnglishThe problem of Celestina’s authorship —whether there was one (Fernando de Rojas) or more authors— has been controversial along the Spanish history of literature. In this article I question if Fern...

Old Polish religious texts are the basic source for studying the beginnings of Polish language and culture. In the article the author presents two problems faced by the publisher of Old Polish apocrypha, resulting from the genetic multilayerity of medieval texts (these texts are mostly preserved only in copies, sometimes in copies from copies) and – above all – their multi-sourced character. First of all, dealing with Polish language at the initial stage of development and the specificity of the Polish medieval language does not allow to clearly separate independent speech from dependent (which results in a problem with the quote boundaries). The second problem stems from the specific nature and purpose of texts – within the quote there are included numerous other quotations, often extensive author’s explanations, as well as quasi-quotes (theological comments, paraphrases of the Jesus words).

Se hace una lectura analítica de los paratextos de la Comedia impresa en Toledo, 1500, y de la Tragicomedia impresa en Valencia, 1514, recuperando los significados de "comedia", "acabar", "componer", "auctor", "autor", "fin bajo" y "corrector de la impresión". El análisis nos llevará a la conclusión de que Rojas, más que creador, fue "acabador" o "componedor" (dicho con palabras actuales, "adaptador" o "refundidior") de una comedia preexistente completa y en estado manuscrito -configurada a su vez sobre las "razones" de un "antiguo auctor"- entroncada con las comedias humanísticas italianas y, como es natural en el género, con final feliz. Rojas "acabó" esta comedia titulada ya "Comedia de Calisto y Melibea", es decir, le "dio la última mano" (DA) reorientándola mediante prácticas compositivas (adiciones, sustituciones, supresiones, transposiciones y fusiones textuales) a una tragedia con moralidad cristiana, y salió a la luz impresa en letras de molde bajo el auspicio del entorno intelectual del Arzobispo de Toledo, futuro Cardenal Cisneros, del que formaba parte Alonso de Proaza.

Authorship analysis aims at studying writing styles to predict authorship of a portion of a written text. Our main task is to represent documents so that they reflect authorship. To reach the goal, we use these representations for the authorship attribution, which means the author of a document is identified out of a list of known authors. We have recently shown that style can be generalized to a set of reference authors. We trained a DNN to identify the authors of a large reference corpus and then learnt how to represent style in a general stylometric space. By using such a representation learning method, we can embed new documents into this stylometric space, and therefore stylistic features can be highlighted. In this paper, we want to validate the following hypothesis: the more authorship terms are filtered, the more models can be generalized. Attention can thus be focused on style-related and constituent linguistic structures in authors' styles. To reach this aim, we suggest a new efficient and highly scalable filtering process. This process permits a higher accuracy on various test sets on both authorship attribution and clustering tasks.

Der vorliegende Band eröffnet die Reihe ,Liturgie und Volksspracheʻ, die das ,Berliner Repertoriumʻ begleitet, ein seit 2012 von der Deutschen Forschungsgemeinschaft (DFG) gefördertes Online-Repertorium der mittelalterlichen deutschen Übertragungen lateinischer Hymnen und Sequenzen, das am Institut für deutsche Literatur der Humboldt-Universität zu Berlin erarbeitet wird. Die Reihe soll Monographien, Tagungsbände und Aufsatzsammlungen vereinen, die sich unter dem Gesichtspunkt des spannungsvollen Verhältnisses von Liturgie und Volkssprache mit der Produktion und Rezeption geistlicher Lieder in Mittelalter und Früher Neuzeit befassen. Studien zu Übertragungen lateinischer Hymnen und Sequenzen in die Volkssprache sind ebenso willkommen wie Untersuchungen zu volkssprachlichen Liederdichtern, die sich direkt oder indirekt auf die lateinische liturgische Tradition beziehen. Auch Arbeiten, die wechselseitige Einflüsse zwischen geistlichen Liedern und anderen Textsorten (wie dem geistlichen Spiel, der Legende, der Predigt) erforschen, sollen hier einen Platz finden. Dem Verlag Walter de Gruyter, der sich auf die Begründung und Gestaltung der Reihe eingelassen hat, sei herzlich gedankt, insbesondere dem Lektor Jacob Klingner und der Lektorin Maria Zucker. Der vorliegende Band vereint die Beiträge zu der Tagung ,Maria in Hymnus und Sequenzʻ, die im Juli 2015 an der Humboldt-Universität zu Berlin stattfand. Den Herausgeberinnen des Bandes, Eva Rothenberger und Lydia Wegener, die auch die Tagung organisierten, gebührt für ihre großartige Leistung herzlicher Dank. Die DFG hat die Publikation (Print und Open Access) mit einem großzügigen Druckkostenzuschuss gefördert. Die Datenbank des ,Berliner Repertoriumsʻ, die in Kooperation mit der Universitätsbibliothek der Humboldt-Universität zu Berlin und dem Kooperativen Bibliotheksverbund Berlin-Brandenburg entwickelt wurde, ist unter der Adresse http://opus.ub.hu-berlin.de/repertorium frei zugänglich. Die Datenbank erschließt, ausgehend von den lateinischen Hymnen, die mittelalterlichen deutschen Übersetzungen sowie die Textzeugen, in denen sie überliefert sind. Außerdem werden, soweit möglich, Digitalisate der Textzeugen zur Verfügung gestellt.

ENRICO FENZI DA PETRONILLA A PETRA 2 Aggiungo, circa la "concretezza", che m'è occorso di dire, nel saggio citato sopra, che quella vanità con sì breve uso indica probabilmente il piacere erotico. 3 D'accordo dunque con la chiosa della Chiavacci Leonardi, ad loc., ché la precisione delle parole di Beatrice («quella scuola / c'hai seguitato») mi sembra escludere le vecchie spiegazioni, che si limitavano a ipotizzare in termini piuttosto generici il contrasto tra la filosofia e la teologia. 4 Tutte le edizioni, sino al Petrocchi ed oltre, danno: «ch'i' straniasse», che ovviamente va benissimo. Io vorrei però sommessamente osservare che non suonerebbe male neppure un: chi straniasse, che per qualche aspetto, personalizzando il rischio corso di perdere Beatrice, può forse corrispondere meglio ad accuse così circostanziate («pargoletta», Pietra o eventuali cattivi maestri, insomma, sono per sempre cancellati dalla mente: "non mi ricordo più di nessuno che mi abbia reso estraneo...", ecc.).

Artykuł porusza rolę tłumacza autorskich kronik średniowiecznych traktujących o historii Anglii na przykładzie kronik Historia Regum Britanniae Geoffreya z Monmouth; Roman de Brut Wace’a; Brut Laȝamona; z uzupełnieniem o późniejsze teksty, tj. The Metrical Chronicle Roberta z Gloucester oraz Chronicle Roberta Mannynga z Brunne. Już sam charakter tego rodzaju kronik, często tworzonych po łacinie czy po francusku, stanowi o szczególnym charakterze tekstu docelowego i złożonej roli tłumaczy przekładających je na dialekty języka docelowego
w królestwie angielskim. Dyskusja dotyczy płynnej granicy interpretacyjnej tekstu przekładanego na potrzeby wielojęzycznej Anglii średniowiecza, ale również tła, na jakim plasuje się obraz ówczesnego tłumacza jako autora dzieła, w tym zagadnień autorstwa versus anonimowej tradycji ustnej i pisanej, stosunkowej swobody i zakresu kompetencji autorów–tłumaczy–skrybów. A jako że nihil de nobis sine nobis, do głosu dopuszczeni zostali także sami tłumacze: w poszukiwaniu ich opinii na temat swobody wyboru, granic adaptacji i (nie)świadomej manipulacji ze względu na cel, kontekst i odbiorcę docelowego.

The article ponders upon the role of historical chronicle translators active in the English mediaeval period, illustrated by Geoffrey of Monmouth’s Historia Regum Britanniae, Wace’s Roman de Brut, and Laȝamon’s Brut; with later chronicles by Robert of Gloucester (The Metrical Chronicle) and Robert Mannyng of Brunne (The Chronicle). The very nature of this particular genre, many a time originating and repopulated in Latin or French, testifies to the unique nature of the target text and the complex role of those who transferred it into the target dialects of the English kingdom. We discuss the extent and (fluid) limits of interpretative discretion in translating the text to cater for the needs of multilingual England of the time; but also, the image of the translator as author, and the concepts of authorship vs anonymous oral/written tradition, relative freedom, and core competences of authors–translators–scribes. Nihil de nobis sine nobis – the analysis thus includes the translators themselves, looking for their voice on the freedom of choice, limits of adaptation, and (un)intended manipulation to serve the purpose, context, and the target readership.

sulted directly, but through the selective filter of intermediate sources (Schevill etc.). Once the dust has settled, Verdicchio is the only one remaining in the lists, sheltered beneath the shield of "ironic" allegory (22) emblazoned with Foquet's "ironic" smile. This smile becomes the visual emblem of the irony that presumably underpins the whole of the Paradiso (x) and is none other than "Dante's ironic smile that the reader can capture when he/she is prepared to read the cantica allegorically and ironically" (171). Through this sort of rhetorical strategy, Verdicchio leaves no doubt that it is the readers' state of preparation that is in question, not his interpretation. Indeed, Verdicchio's regular deployment of such phrases as "we now know," (89; 93; 118 etc.) assumes, on the one hand, that his reading is not an interpretation, but a revelation, and, on the other, that his readers are willing to be implicated in this dubious hermeneutics. Since, however, this alleged knowledge is often unsubstantiated, misleading, or incorrect, his habit of casting interpretations as truths is a disservice to any readers who, lacking expertise in the field of Dante studies, have no reason to doubt him. For instance, an unsuspecting student might well be left with the belief that: Justinian's heresy consisted not in monophytism, but "monotheism" (39); Christ was "reincarnated" (44); "no" actually means "yes" (82); Caesar founded Florence and is therefore Dante's ancestor (83); Cacciaguida was a pagan miscreant "born" and "baptized" in the pre-Christian Temple of Mars before it became San Giovanni (92); the number of rebel angels created (rather than the seconds elapsed) before Satan's mutiny "hardly amount to twenty" (157) and so forth. Even the most naive reader, however, may find it difficult to stomach Verdicchio's summary removal of a tercet (Par. 16, 61-3) to bring Dante's text into better alignment with his interpretation (98), and will certainly be baffled by Verdicchio's incoherent translation of this same excised tercet: "this fact is Florentine who changes and trades, who would have lived in Semifonte, where his grandfather went begging" (99). When facts, rather than new-minted Florentines, are thus allowed to change and trade, I guess it's only fair that exegetic fictionslike Shakespeare's dog-should also have their day.

The GRN pattern language can be used to guide the analysis of applications in the business resource management domain. The result is an analysis model for the application, showing the patterns applied to model it and allowing the use of a tool to automatically obtain the final application code. In this paper we describe a series of experiments conducted to evaluate the quality of the analysis models produced using the GRN pattern language compared to the analysis models produced by using an ad-hoc approach. Three experiments were performed with different kinds of subjects: undergraduate students, graduate students, and information technology professionals. The results have shown that the analysis models produced using the GRN pattern language have less errors than those produced using an ad-hoc system analysis approach.

BY ANNE STONE SOME YEARS AGO Heinrich Besseler proposed that the period between the death of Machaut in 1377 and the beginning of Dufay's career around 1420 be named 'the era of Ciconia', in acknowledgement of the quality and prominence of that composer's works in a period considered to lack a single 'great' composer.1 In the years since Besseler's publication, two complete-works editions, many articles and more than one book-length study treating questions of his biography and musical style, and at least three recordings devoted exclusively to Ciconia's compositions have only strengthened Besseler's case.2 Yet the suggestion has not really taken hold, perhaps because Ciconia's biographical and music-stylistic profile does not really seem to have been representative of his era. Born and presumably educated in the bishopric of Liege, he travelled to Italy at an early age to pursue his musical career, a path more often taken by composers of later generations than of his own. And while subsequent fifteenthcentury oltremontani by and large imported northern styles and languages into Italy, Ciconia seems instead to have cultivated the genres of his adopted home. Nineteen Italian songs ascribed to him survive, but only three French-texted works: the canon 'Le ray au soleil' and two virelais, the unusual two-voice 'Aler m'en veus' and the three-voice 'Sus une fontayne'. This tally is all the more striking because surviving manuscripts suggest that French, not Italian, secular forms were often preferred among Italian composers in northern Italy; further, many of these Italians seemed to favour the extended and complex rhythmic notational vocabulary of the so-called ars subtilior.3 If Ciconia's surviving pieces can be taken as representative of his compositional interests, then, his tastes were quite different from those of many of his north Italian colleagues. An earlier version of this paper was read at the American Musicological Society annual meeting in Montreal, 1993. The revisions benefited greatly from comments from Margaret Bent,

This dissertation analyzes the use of Augustine's life and thought, especially as recorded in his Confessions, in the Herald of Divine Love. It argues that Gertrud collaborated with her sisters at Helfta to produce a book adopting, advancing, and inviting readers into ...

espanolEl tema de la autoria y si fueron uno (Fernando de Rojas) o mas escritores los creadores de la Celestina es una polemica larga en la historia literaria. En este trabajo pongo en entredicho que el bachiller Fernando de Rojas de la Puebla de Montalban, perteneciente a una familia de conversos que llego a ser Alcalde de Talavera, sea realmente su artifice. Para ello hago un repaso de cuales han sido las diferentes opiniones sobre la autoria de la Celestina a lo largo de los siglos hasta el presente, en donde las dudas superan con creces las certezas, cuando multitud de criticos (entre ellos me incluyo) ya no creen que Rojas y un primer Autor (Mena y/o Cota) sean los verdaderos progenitores de la Comedia y su ampliacion a Tragicomedia, tal como se afirma en los versos acrosticos. EnglishThe problem of Celestina’s authorship —whether there was one (Fernando de Rojas) or more authors— has been controversial along the Spanish history of literature. In this article I question if Fern...

Thomas Kybbetts The teares of time Überlegungen zur elektronischen Edition einer unbekannten Fragmenthandschrift aus der frühen Stuart-Zeit Fragmentarisch überlieferte Werke stellen ein in der editionsphilologischen Diskussion bislang weitgehend unbeachtetes Phänomen dar. Während die neueren Philologien in erster Linie mit Entstehungsfragmenten befaßt sind, deren Bearbeitung oftmals von Fragen der Werkgenese begleitet wird, steht in den älteren Philologien die editorische Behandlung von Überlieferungsfragmenten im Vordergrund. 1 Die wissenschaftliche Reflexion über das nur durch den Überlieferungsprozeß unvollständige Kunstwerk findet daher in erster Linie in den klassischen Fächern statt, schlägt sich jedoch auch dort weniger auf die Praxis der Textkonstitution nieder, sondern vielmehr auf die der Kommentierung. Die Potentiale der elektronischen Edition gerade im Hinblick auf die Textkonstitution wurden in den letzten Jahren immer wieder hervorgehoben, etwa bei der Frage nach der Abbildung genetischer Prozesse. 2 Die Problematik der Fragmentedition ist dabei jedoch bislang noch nicht ins Blickfeld gerückt. Das Beispiel einer unbekannten Fragmenthandschrift aus der frühen Stuart-Zeit mag daher aufgrund ihrer in vieler Hinsicht typischen Überlieferung den Ausgangspunkt für einige grundsätzliche Überlegungen bilden. Als Kronprinz Henry am 6. November 1612 unerwartet in London verstarb, verlor das protestantische England seinen größten Hoffnungsträger. So ist heute eine umfangreiche Sammlung elegischer Gelegenheitsgedichte überliefert, in denen viele der dem Hof verbundenen Poeten, aber auch Laiendichter ihrer Trauer 1 Die terminologische Unterscheidung von "Entstehungs-" und "Überlieferungs fragment" wurde m.E. aus der editorischen Praxis entwickelt und an keiner Stelle methodisch diskutiert. Dabei bezeichnet ersteres ein bereits in der Entstehung unabgeschlossenes Werk, während letzteres die durch einen historischen Prozeß bedingte, fragmentarische Uberlieferung eines ursprünglich vollständigen Textes beschreibt. 2 Beispiele hierfür sind die Nietzsche-Edition und neue Ansätze zur Joyce-Edition. Vgl. dazu: Paolo D'Iorio (Hrsg.): HyperNietzsche. Modèle d'un hypertexte savant sur Internet pour la recherche en sciences humaines. Questions philosophiques, problèmes juridiques, outils informatiques. Paris 2000, und Hans Walter Gabler: Towards an Electronic Edition of James Joyce's Ulysses. In: Literary and Linguistic Computing 15 (2000), S. 115 bis 120.

If, as George E.P. Box puts it, »all models are wrong, but some are useful« (Box in Ahnert et al. 2020, 79), what then, would be the merit and concrete gains of such an ambivalent model in the field of literature? This article stems from a hunch: that the use of the network metaphor to describe children’s literature (in the broad sense as referring to any cultural product developed for children) is not insignificant. Starting from that postulate, the goal of this article is to look beyond the metaphor and explore how the rhizomatic network could serve as a concrete model, supplementing the current toolbox used to study children’s literature. Indeed, many characteristics of the rhizomatic network – namely its unlimited, simplified, non-hierarchical, random-access, and visual nature – lend themselves to a broader and more inclusive conceptualization of children’s literature. Translator study scholar Rebecca Walkowitz makes a strong case for this approach, stating that »[i]n the future...

This article explores the ideo-political background of the so-called 'new philology' by looking closely at some works by its 'founding fathers', Bernard Cerquiglini and Stephen G. Nichols. It addresses the tendency among adherents of 'new philology' to downplay authorial intention in medieval works and to reject basic principles of textual criticism.