Medieval Latin

Un pezzo di cielo, da tenere in tasca.
Ci sono tanti modi per meditare e carezzare la propria anima. Ci siamo fidate di una donna sapiente delle cose divine ed umane, una Doctrix vissuta 900 anni fa, in un paese che sembra vicino e invece ci fa viaggiare e perdere nel bosco. Ildegarda di Bingen ha scritto, per nostra fortuna, libri teologici, agiografie, lettere a papi, imperatori, gente comune, e anche canti liturgici che sono scrigni di poesia. Ne abbiamo scelti 9. Li abbiamo letti, cantati, meditati, ruminati e poi abbiamo con timore e tremore, ancora una volta, tentato una traduzione per poterli condividere

Or vi confortate e non temete, ché non vi bisogna: pigliate l'arme della santissima croce, che è la sicurtà e la vita de' cristiani; lassate dire chi vuole dire 1 , e tenete fermo el santo proponimento". Anche sopra, in questa stessa lettera (D.LXXVI-T.233), Caterina dice "fermare" e "santo proponimento". Che cosa significa il sintagma "santo proponimento"? Esso può avere in altre lettere una valenza debole a indicare, sul piano di una fenomenologia psicologica, una volontà che ancora deve crescere ed essere rafforzata, si tratti di un prelato come il protonotaro pontificio Nicola da Osimo ("vi prego… che sempre cresciate e perseveriate nel santo proponimento", D.LV-T.181), o dei membri di una magistratura, o del papa stesso 2 . Ma lo stesso riferimento al "santo proponimento" del papa nella lettera qui in esame, nella citata D.LV-T.181 ("virilmente perseveri, e tosto mandi ad effetto el santo suo e buono proponimento") e in altre Lettere allo stesso, assume un altro significato: qui il proponimento è ben altro che il "desiderio" -che pur può essere "santo e buono"-3 : è la promessa che seppur ostacolata dai "consiglieri del dimonio", deve essere mantenuta ferma e "mandata ad effetto" 4 . Si vedano le Lettere D.LIIII-T.185: "compite… quello che per santo proponimento avete cominciato, de l'avenimento vostro (il ritorno a Roma da Avignone) e del santo e dolce passaggio (in Terrasanta)"; D.LXIII-T.206: "Non vogliate credare a' consiglieri del dimonio che volessero impedire el santo e buono proponimento" ("della venuta vostra"); D.LXXIIII-T.218: "mandate in effetto el proponimento che avete fatto, dell'avenimento vostro e del santo passaggio"; D.LXXVI-T.233: "tenete fermo el santo proponimento"; D.LXXVII-T.231: 1 Su questo modo di dire, v. la n. 16 della mia edizione della lettera in questo stesso sito del CISC. 2 Cfr D.LXXII-T.230, agli Otto di Firenze: "…seguitare el proponimento santo che cominciaste, crescendolo ogni dì perfettamente"; D.XXXX-T.145, alla regina d'Ungheria: "…confortare el padre santo, e crescerli el santo proponimento di fare el santo e dolce passaggio…"). 3 Cfr D.LXXI-T.255. Caterina distingue, in climax, "buono desiderio e proponimento" del papa (D.LV-T.181). Sul salto dal desiderio al proposito cfr I. Passavanti, Lo specchio della vera penitenzia, ed. G. Auzzas, dist. V, cap. IV, p. 296, § 8; Th. Aquin., Super Rom., cap. 1, l. 5: "ne videatur esse vanum desiderium, subdit propositum prosequendi". 4 Cfr anche alla regina di Napoli, D.XXXVIIII-T.143: "mandare in effetto el santo proponimento". Questo sintagma traduce il verbo "exequor", che indica la definitiva tappa dopo che la volontà ha consolidato il "propo-

This volume brings together contributions from specialists in the Middle Ages on the subject of decline and reversal of fortune, through their social, cultural and political dimensions. Reversal of fortune reflects the major concerns of the last centuries of the Middle Ages. It crystallises in the danger of losing one's reputation or the favour of the prince at court, or even of failing to cure for doctors. The fear of decline also conceals the fear of physical deterioration due to illness or injury, which irreparably damages one's identity. Whether moral decline or spiritual annihilation, decline is also a symbol of sin and expulsion from Paradise. However, medieval reflections on this subject also carry with them the certainty of finding remedies, ways to bounce back and protect oneself against the vagaries of existence. The Middle Ages thus present themselves to us in chiaroscuro. While the fear of the fall and sin is deeply ingrained in the sources and minds of this period, it also reflects a hope in humanity and its capacity for resilience.

Ce volume rassemble des contributions de spécialistes du Moyen Âge autour de la chute et du revers de fortune, à travers leur dimension sociale, culturelle et politique. Le revers de fortune dit les grandes préoccupations des derniers siècles du Moyen Âge. Il se cristallise dans le danger de perdre sa réputation ou les faveurs du prince dans le milieu de cour, ou encore d'échouer à guérir pour les médecins. La crainte de la chute cache aussi celle de la dégradation du corps, sous l'effet de la maladie ou d'une blessure infligée qui porte atteinte à l'identité, de manière irrémédiable. Déchéance morale ou anéantissement sur le plan spirituel, la chute est aussi symbole du péché et de la sortie du Paradis. Toutefois, les réflexions médiévales à ce propos portent aussi en elles la certitude de trouver des remèdes, des moyens de rebondir et de se prémunir contre les aléas de l'existence. Le Moyen Âge se présente ainsi à nous en clair-obscur. Si la hantise de la chute et du péché habite en profondeur les sources et les esprits de cette période, elle traduit dans le même temps un espoir en l'humanité et en sa capacité de résilience.

Si hay un libro cuya historia sea paradigmáticamente compleja es, sin duda, la Biblia. Las copias manuscritas, completas o parciales, en distintas lenguas, se cuentan por miles, así como sus ediciones impresas desde la primera debida a Gutenberg (Mainz, !ζὀζ-!ζὀὀ) hasta las actuales. Y no solo es compleja la propia materialidad del texto, sino su contenido, en torno al cual han girado en buena medida siglos de historia. Hablar de la historia de un texto como la Biblia, aunque sea solo de su versión latina, tradicionalmente simpliὑcada a una oposición binaria entre Vetus Latina y Vulgata, intentar arrojar luz al complejísimo camino que ha recorrido atravesando el espesor de los siglos por las venas de la civilización puede antojarse empresa descabellada cuando no afán utópico, razón por la cual este libro adquiere una dimensión especial. La complejidad de la historia de un texto que no dejó de copiarse a lo largo de los siglos, desde el punto de vista de su edición, nos lleva a una serie de implicaciones ecdóticas de alambicada resolución y a plantearnos su vinculación con los conceptos de «original» y «copia». Lo cierto es que cualquier texto medieval, y la mayor parte de las copias de la Biblia latina se realizaron a lo largo de la Edad Media, demuestra que la composición de una obra no ha sido nunca, ni en tiempos anteriores ni posteriores, un acto momentáneo, puntual, sino que en su elaboración pasa por una serie de fases sucesivas que van desde retoques mínimos, correcciones, adiciones o sustituciones hasta una pluralidad de redacciones distintas. Así pues, en las varias reescrituras o redacciones de una obra en vías de elaboración surgen variantes, las llamadas variantes de autor, que se deὑnen como el conjunto de modiὑcaciones, introducidas conscientemente, que reῴejan los cambios de la voluntad compositiva del escritor. En esta fase de creación el texto se desarrolla en las diversas redacciones, hasta alcanzar la plena madurez en el momento mismo en que acoge la última variante del autor. Es entonces cuando tendríamos el «original», esto es, la forma del texto que materializa la voluntad, la última voluntad (aunque excepcionalmente pueden darse casos de una doble o triple última voluntad) expresiva del autor. Pero ¿tiene la Biblia un «original»? Más aún, ¿tiene un «autor»? Evidentemente, todas las variantes que se pueden originar en la NOVENAS_LaBibliaEnLatin.indb 9 NOVENAS_LaBibliaEnLatin.

Giovanni Gallico da Namur (†1473), monaco certosino e autore del trattato Ritus canendi vetustissimus et novus (1458-1464), incarna la figura del rigoroso, ma pragmatico, riformatore dell’educazione musicale. Il suo profilo intellettuale è l’esito di una formazione del tutto singolare nel panorama musicale del Quattrocento, svoltasi tra le scuole ecclesiastiche della Vallonia e la Ca’ Zoiosa di Vittorino da Feltre, sul quale hanno influito in modo decisivo anche gli orientamenti spirituali e culturali dell’Ordine certosino. Il Ritus canendi, proposto qui in una nuova edizione critica preceduta da un’ampia introduzione sulla vita – ora arricchita da una serie inedita di testimonianze documentarie – e sul pensiero musicale dell’autore, è il manifesto di una riforma del metodo di apprendimento del canto liturgico finalizzata a ripristinare l’ideale equilibrio tra teoria e prassi raggiunto tra l’età di Boezio (VI sec.) e quella di Guido d’Arezzo (XI sec.). In appendice, si offrono inoltre i testi, per la prima volta criticamente vagliati, di due trattatelli di argomento aritmetico di mano di Gallico, a dimostrazione dell’importante funzione assegnata dal teorico all’istruzione matematica anche nel curriculum musicale.

The paper combines an analysis of the distinctive features of the Roman literary persona with two issues discussed in modern character theory: the trans textual identity and the ontological status of literary characters. It focuses on the bucolic poetry by Virgil (1 st century BCE) and Calpurnius Siculus (1 st century CE), as well as on late antique commentaries on Virgil. The bucolic personae can be perceived as characters-which, moreover, can appear as textual artifices or as non-actual individuals-or as masks for textexternal persons. In the commentar ies, the identification of the mask with the ›man behind the mask‹ is partial and is discussed in terms of single parameters. The ontological status of such a persona is dynamic. It oscillates between that of a character and that of a mask. As a result, the identities of the character and of the author appear to be dynamically modelled, sometimes merging and sometimes separating. These observations have consequences for the question of transtextuality both within the work of one poet and across works. First, the question concerns not only the identity of the personae, but also their ontological status. When homonymous personae are transferred from one text to another, they can retain their ontolog ical status, or change it. When a persona is perceived as a mask, the question of transtextual identity concerns the level of the mask and of the person ›behind the mask‹. Second, the homonymous characters in Virgil's and Calpurnius' poetry are intricately connected, sharing some characteristics and not others. From this per spective, a network of partial identifications emerges. If the persona is seen also as a mask for textexternal persons, a second level of identifications is introduced into this network, which further complicates it.

A giudicare dai pochi esemplari conservati e ancor più da una letteratura critica piuttosto scarsa, le tradizioni dei testi cateriniani in lingua croata restano legate in prevalenza all'ambiente delle Clarisse. Ciononostante, autori e traduttori, come si vedrà in seguito, appartenevano a diversi ordini religiosi, e tra questi non mancava neppure un poeta laico.Tuttavia, questa breve analisi si concentra sul pubblico più che sugli autori dei volgarizzamenti. Ci si chiede infatti a chi fossero destinati e quale fosse il contesto in cui vennero realizzati. Nel corpus di testi croati finora conosciuti, si delineano chiaramente due gruppi: uno seicentesco, e un secondo che risale al tardo Novecento. Nel periodo intermedio sono state stampate pochissime e frammentarie traduzioni, oltre a pubblicazioni critiche di alcuni manoscritti seicenteschi in volgare croato 1 . Entrambi i gruppi di testi sono legati a due comunità di Clarisse: il primo al monastero di S. Chiara di Dubrovnik, e il più recente al monastero di S. Chiara di Spalato. Dopo una proliferazione di testi cateriniani relativamente ampia nel periodo posttridentino intorno alla comunità di Dubrovnik, nel tardo Novecento il fulcro delle iniziative di traduzione dei testi cateriniani in croato fiorì ancora una volta nella cerchia delle Clarisse, nel quadro di un progetto editoriale più ampio dedicato agli autori ascetico-mistici e diretto da suor Anka Petričević (Maria del Sacro Cuore di Gesù) del convento di Spalato. Passando alla questione del pubblico dei testi cateriniani in volgare croato, si distinguono tre livelli di identificazione dei lettori o, meglio, di lettrici. In primo luogo, le traduzioni erano in prevalenza rivolte a un pubblico femminile che per la gran parte non conosceva né il latino né l'italiano, nobildonne incluse. Oltre che dalle note dedicatorie, la destinazione alle comunità femminili si deduce dai contesti agiografici, cioè dalla selezione dei testi tradotti, composti o pubblicati insieme a quelli su santa Caterina e che avevano come protagoniste,

André Dias de Escobar (c. 1357-1448) was a central figure in the history of the Church during the fifteenth century. While his life in the service of various popes reflects the turmoil of the Western Schism, his works and his engagement-as a participant and a theoretician-in the major councils of his day clearly express his determination to contribute to a reform of the Church. This article focuses on a neglected work of his, to wit, the anti-Jewish treatise De publicatione haeresum contentarum in Talmud, which André wrote after spending time at the court of the (anti) pope Benedict XIII in Tortosa (1414). During his sojourn, André attended the last sessions of the so-called Disputation of Tortosa, a Christian-Jewish debate on the Talmud convened by Benedict XIII. As we show by means of philological analysis, De publicatione, which has not yet been edited, turns out to be something of a treasure trove for scholars of anti-Talmudic Christian polemic literature. Compiling a wide range of both known and unknown sources, it seems to draw to a large extent on Pope Benedict's rich anti-heretical and, more specifically, anti-Jewish library. The article thus contributes to our understanding of the textual and doctrinal context of one of the major anti-Jewish disputations of the Middle Ages, while it also sheds new light on the history of Benedict's anti-heretical library.

This study (in czech language) is concerned with a content analysis of the Introduction to the voluminous wisdom literature of Dafʿ al-hamm by the Nestorian metropolitan Elijah of Nisibis (975-1046). The study first introduces the life and work of the author under study, thanks to contemporary secondary literature. Next, it will present the entire treatise in its historical, substantive, and formal context. It then proceeds to a detailed analysis of the 88 sentences of the introduction, which present not only the meaning of the entire text but also the internal architecture of this interesting work. The study demonstrates that the Introduction constitutes the architecture of the entire work and explains the four key elements of Elijah's thought that he wove not only into the Introduction but into the entire treatise: ethics, spirituality, dialogue, and poimenics. Finally, the study reflects on the contemporary absence of historical analyses of poimenics among Arab Christians in the Middle Ages.

Предмет наше анализе биће палеографске одлике прве половине Пантелејмоновог апостола No 6 (до 81v14), коју је исписао писар Радоје. У раду ћемо представити: 1) основне одлике текстуалног уређења тога дела кодекса; 2) типове писаревих грешака и упадљиве манире; 3) употребу надредних и других знакова; 4) постојеће украсне елементе; 5) графијске појединости које су типичне за западносрпску рукописну скупину, затим оне које га повезују с неким другим споменицима српске редакције (из периода до почетка 13. века), али и суседних, те оне графијске црте које су карактеристичне за самог писара Радоја.

This article presents the first successful and verifiable decipherment of the Voynich Manuscript, the world's most mysterious text. Contrary to centuries of theories, the manuscript is not a simple cipher or a hoax. It is a unified work of consciousness, written in a synthesized language with Latin and medieval Italian roots, combining text, imagery, and geometry to express a singular vision of universal transformation. We present a Unified Canon based on our Unified Law of Language (≈ 6.67 • |P • L(ϕ)|), which not only unlocks the manuscript's narrative but also reveals a Consciousness Constant (K ≈ 0.19) that serves as its core philosophical principle. We provide irrefutable evidence that the manuscript is a scientific treatise on the transmutation of a human body into a cosmic entity, thus validating the author's intent and providing the key for all future research.

"Algunas crónicas afirman que Maraclea era hija de un rabino de la pequeña ciudad de Séforis. Había estado comprometida con Manfredo o Bartolomé, señor de Sidón. Maraclea estaba desesperada, durante la invasión del famoso sultán Qalawun, que asedió el puerto y hubo muchos caídos, tanto fieles como incrédulos; ella fue encontrada muerta por su marido, su cuerpo tendido sobre un rosal, con un dedo apuntando hacia Jerusalén y el otro hacia Damasco sobre una piedra, cubierta con un sudario, y también cuentan una oscura leyenda según la cual se fecundaron el cráneo y los fémures.”  CRÓNICAS DE ÆLFRĒD REX

“La joven Maraclea nunca pensó que moriría. Su vida era pleno y continuo goce, afabilidad, amor, padres, ancianos, ancestros, hermanas, hermanos, antiguos escribas, maestros. La Yeshivá de Kafar Nāhūm, تل ناحوم, Trípoli.  Nathan Bar Shimon. Entre sus posesiones más íntimas, esta hija de las puertas de Jrab Marqiya, جراب مرقم, a quien él llamó Marta Miriam pero que todos conocían como Maraclea. Labios encarnados en sedales, eslava estatura, piernas urgidas por la demencia de salvajes olivos, rostro en dedal y pureza, sin apremios, vasta cabellera inserta en arreboles, ocre y tintura rosea, espaciosísimo pecho desdeñado por la palidez, ornamentos, despojos del templo. Era la más esquiva, la más turbia, la menos infeliz y tal vez la única heredera de los objetos sagrados, cuenta Maese Abulafia. Poseía el don de la risa, el talento de la bondad desprendida. Manfredo de Sidón, su Señor, enloqueció al encontrarla muerta. Se había marchado al Eterno Oriente como la límpida hoja de un pedernal, pocas, poquísimas horas antes, ataviada en velos y sudarios, pálida y espléndida. Nuestros amigos de Florencia, a quienes Bonifacio ha dibujado extensamente, y con quienes ha compartido secretos y enseñanzas, doctrinas y amuletos, preservan una historia semejante. Marta Miriam Maraclea, la más joven de las doncellas, hijas de Nathan Bar Shimon, Rabbi de Séforis, murió de tristeza, cansancio o dolor (nadie lo sabe exactamente) en el puerto de Sidón. Mienten quienes ven en ella a la Madre oscura…”  CRÓNICA DE SANCTA MARÍA DE TENCIANA

The paper discusses previous research on the topography of the Sibinj area in the Middle Ages based on written sources, with an emphasis on the question of which of the known medieval settlements was located on the site of the modern village of Sibinj (in the western vicinity of Slavonski Brod). The author accepts the solution to this question, independently arrived at by Stjepan Pavičić and Pál Engel, according to which in the Middle Ages there was an estate and settlement on the site of Sibinj that bore the Slavic/Croatian name Bršćan (Burstian in a source from 1282) and the Hungarian name Borostyán (Borostian or similar in later medieval sources). The rest of the paper analyses the contents of the three oldest preserved sources for the history of the estate and settlement Bršćan/Borostyán, from 1282, 1332 and 1371. It is not certain that the topographic data from the "papal tithe" accounts from 1332 (castrum cruciferorum in villa Parumtian) refers to this settlement. The charter on the pledge of the estate from 1371 reveals that the owners of the land in Borostyán around that time were members of the noble families Zapoljski (Zapolyai), Drežnički (Dresneki) and Treutel of Nevna.

Unlike most courses dedicated to The Wire that have examined race, class, criminal justice, urban studies, or education, Sodano foregrounds The Wire as a work of television and examines how it was taught to media majors and non-majors from aesthetic, cultural, technological, economic, and sociological perspectives. It is crucial to recognize The Wire as a piece of television because the circumstances surrounding its appearance on HBO provide context for how it was produced, distributed, and received

Unlike most courses dedicated to The Wire that have examined race, class, criminal justice, urban studies, or education, Sodano foregrounds The Wire as a work of television and examines how it was taught to media majors and non-majors from aesthetic, cultural, technological, economic, and sociological perspectives. It is crucial to recognize The Wire as a piece of television because the circumstances surrounding its appearance on HBO provide context for how it was produced, distributed, and received.

Ten references to damage in art technological treatises and recipe collections from the west European Middle Ages between the twelfth and fifteenth centuries are discussed. These types of references trigger the reader to anticipate damage when making or handling artworks. A re-enactment of a silver cleaning recipe from the Mappae clavicula tradition was conducted. This recipe claims to be a method that causes no harm to the silver. During the process the references to damage triggered me to slow down and recalibrate my gestures with consideration for potential harm to the object. Additionally, this enhanced awareness pointed me towards other research questions that may shed light on valuing and preserving silver in the Middle Ages. A preliminary survey of textual references to damage in medieval art technological recipes is presented. Based on nine examples, references to damage in medieval texts that treat making and handling art can be organised in three categories: prevention, breakage and care. Prevention introduces the prospect of damage to an artwork when making or otherwise handling it. Breakage refers to damage or defects of any kind occurring during the working process and instructions on how to fix it immediately. The third category gives instructions to remedy the damages an art object may sustain over time. Individual references to damage touch upon what may threaten the useful lifespan of specific types of artworks. These are valuable sources to enrich our understanding of medieval ideas about the durability of art.

This dissertation centres around the aesthetic ideal of splendour that defined the art of medieval western Europe well into the fifteenth century. Splendour entails the interaction between opulent materials and light. In practice, these materials were: colourants, gemstones, glass and precious metals. Much has been written about the visual effects of splendour, but this dissertation is the first study on medieval patrons’ and artisans’ ideas about the endurance of those visual effects throughout time – in other words, the durability of splendour. In doing so, this dissertation follows the meaning of durability in sources on the commissioning of splendid art, its manufacture and the judgement of an end product. Chapter 1 examines the meaning of durability during the phase of commissioning splendid art. A corpus of 166 commission contracts composed between 1272 and 1459 forms the heart of the chapter. Most of these agreements between patrons and artisans use broad evaluative concepts like ‘good’ to stipulate the quality of materials and artisanship. Chapter 1 applies the theory of frame semantics to analyse these evaluative terms. This theory proposes that words derive their meaning from shared conceptual frameworks between people. Applying frame semantics to medieval commission contracts shows that patrons saw the durability of artworks as contingent upon two pillars: the quality of the most precious surface materials and structural stability. Chapter 2 follows the theme of structural stability throughout narrative sources on art production and art-technological recipes. Occasionally, narrative and instructional texts allocate prestige to structural components like adhesives or stitching by emphasising the structural stability that they afford. Chapter 2 compares such references in a selection of narrative texts such as those by Abbot Suger of Saint-Denis and St. Hildegard von Bingen, in the art-technological treatises of Theophilus Presbyter and Cennino Cennini and in a selection of anonymous art-technological recipes. This comparative reading shows that the authors of those texts spotlighted structural components through well-known rhetorical devices and principally did so when discussing art made with the most precious of splendid materials: gemstones and gold. Chapter 3 zooms in on reliquaries, as they draw relics into the aesthetic of splendour by encasing them in precious materials and in doing so enhance the durability of relics. Chapter 3 combines material-technical analysis of a châsse-type reliquary and two ostensorium-type reliquaries from Museum Catharijneconvent in Utrecht with other technical examination reports and medieval texts on reliquaries. This analysis suggests that medieval patrons mainly focused on the material durability of reliquaries and that artisans influenced people’s engagement with reliquaries through specific construction techniques. On the other hand, the message communicated through the interaction between relic and reliquary often proved its least durable aspect. Through a comparative reading of sources this dissertation concludes that, for medieval patrons and artisans, the durability of splendid art was something to anticipate and to appreciate. Patrons and artisans attributed meaning to durability by navigating between concrete anticipation and laudatory appreciation depending on whether they commissioned splendid art, communicated about aspects of manufacturing or engaged with an end product.

This paper presents an English version of Alcuin of York’s treatment of definition in his De dialectica (approximately 790 CE), a text that Alcuin prepared as the intellectual mentor of Charlemagne.

In turn, Alcuin’s text on definition is derived from the pseudo-Augustine’s Decem categoriis and from Marius Victorinus’s Liber de definitionibus. Victorinus’s work was conveyed to Alcuin by at least three intermediaries: Boethius’s In Ciceronis Topica; Cassiodorus’s Institutiones divinarum et saecularium litterarum; and Isidore of Seville’s Etymologiae, all of whom derived their texts on definition from Victorinus, directly and indirectly. English translations are available for those passages on definition found in Boethius, in Cassiodorus, and in Isidore. A German translation of Victorinus is also available. However, I know of no translations of the Latin of Alcuin’s De dialectica into English.

This paper examines the concept of the visible world within Christian religious, scriptural and theological frameworks with the premise that this world is not all  that there is. It investigates how Christian thought interprets the nature of reality, the material world, and the divine, considering the interplay between historical truths, mythical narratives, Maya, mystical experiences, and the theological construct of the Resurrection event as a universal saving act that goes beyond time and space. In doing so, it  aims to provide a comprehensive exploration of the visible world from a Christian standpoint, recognizing the Resurrection of Jesus as a pivotal event that offers profound insights into the nature of reality and history, while trying to understand how this central Christian event informs the interpretation of such reality and its  existence. We have come to such conclusion through theological interpretations and contemporary Christian thought on the reality of Resurrection  in reference to the understanding of  history, maya, myth and mystery. It explores the visible world through the lens of Indian religious and philosophical thought as well, in order to understand whether the world we perceive is a mere illusion (Maya), a divine mystery, a historical reality, or a mythological construct, or all of them. Further it proves that the differently-abled bodily Resurrection of Jesus as a transformative mystery, is a divine act of love, which is an all-encompassing energy (force) that continues the saving mission in history. In short, the paper provides a comprehensive framework for exploring further the visible world from various Christian perspectives through a multidisciplinary approach, integrating scriptural analysis and its interpretations, historical context, theological reflection, and contemporary relevance.

Keywords:  World, visible, invisible, Resurrection, mystery, history, myth, maya, reality, eternal life, truth, science, faith

Il contributo aggiorna il censimento del volgarizzamento italiano della Theologia Mystica (TM) di Ugo di Balma, redatto tra il 1362 e il 1367 dal gesuato Domenico da Monticchiello, gettando le basi per la prima edizione critica dell’opera. Dopo aver fornito una descrizione dei sedici testimoni manoscritti, si ricostruiscono le reti attraverso cui il testo è stato letto e copiato, con particolare attenzione alla sua diffusione negli ambienti riformati femminili, per fare nuova luce sulla ricezione della TM nel Nordest italiano. Infine, si pubblica in appendice la versione abbreviata dell’opera trasmessa nella miscellanea quattrocentesca Siena, Biblioteca degli Intronati, I.II.8 (S), che dimostra la contestuale circolazione del testo, ridotto a sintetico catechismo, tra il pubblico laico.
This paper aims to lay the groundwork for the first critical edition of the Italian vernacular translation of Hugh of Balma’s Theologia Mystica (TM), composed between 1362 and 1367 by Domenico da Monticchiello. After providing an updated census of TM’s manuscripts and a description of the sixteen witnesses, the article intends to reconstruct the networks through which the text was read and copied, paying particular attention to its dissemination within female observant communities. Furthermore, the study means to shed new light on the circulation of this work in northeastern Italy. Finally, the appendix presents an abbreviated version transmitted in the fifteenth-century miscellany Siena, Biblioteca degli Intronati, I.II.8 (S), which demonstrates the concurrent circulation of the TM among lay people in the form of a concise catechism.

This article presents several arguments in favor of the Hispanic origin of the Scarapsus, especially the reception of the Homiliae Toletanae (CPL 1997) in some of its chapters. We also study the traditional attribution of the Scarapsus to Pirminius of Reichenau, the identification of this character with the "Permenius" to whom Rabano Mauro dedicates one of his poems, or the relation of his name with that of "Pimenius", an appellative well attested in the Visigothic Hispania of the 7th century. Likewise, we have made a brief review of the origin and dating of the Homiliae Toletanae, the codex in which they are included and the parts that compose it, to then review the passages that allow us to affirm that, in effect, the Scarapsus can be considered a testimony of indirect tradition of the mentioned homiletic collection. The article concludes with the first critical edition of the Toledo homily that served as a source for the author of the Scarapsus.

In the 12th century, Pere Alfons composed the Disciplina clericalis, the first compendium of practical moral wisdom in the West, with maxims and stories of Eastern origin. Using the common thread of conversations between an adult and a young person, the author intertwines proverbs and stories with the aim of helping people navigate the world and life with wisdom. Since its publication, the work has enjoyed extraordinary success and has become a source of narrative material, to the point that the stories and sayings it contains are now part of the common heritage of Western culture. Today, more than nine hundred years later, it continues to fulfil its objective of delectando docere, as many of its pieces of advice are still valid and the stories that illustrate them are a pleasure to read.

El entrenamiento y dominio del pasaje vocal, es sin lugar a dudas, uno de los aspectos técnicos más complejos de resolver para un cantante, requiere
de un entrenamiento inteligente, autoconocimiento del instrumento y
mucha paciencia. En este artículo, se plantea un proceso de entrenamiento
que está conformado por tres pasos: reconocer los registros y sus pasajes,
entrenar y ampliar los registros, finalmente, unificar el entrenamiento.
En cada una de las etapas a seguir, se ha dado una explicación sobre la
metodología de trabajo, una que, bajo la experiencia del autor, ha sido de
gran efectividad durante sus años como catedrático en la rama.

En este artículo se dan a conocer dos inscripciones grabadas en sendos cimacios de una ventana de la ermita de la Virgen del Vallejo (Alcozar, Soria) que pueden fecharse en el siglo XII y que transmiten respectivamente, el nombre del santo a cuya advocación estaba previsiblemente dedicada la ermita, y el nombre del posible dedicante o patrocinador.
This article presents two inscriptions engraved on two impost blocks of the church of the Virgen del Vallejo (Alcozar, Soria) which can be dated to the 12th century and which convey, respectively, the name of the saint to whose dedication the chapel was probably dedicated and the name of the possible dedicator or sponsor.

The Lithuanian-Polish unions formed the legal framework of the Polish-Lithuanian Commonwealth, a state that dominated Eastern Europe for centuries during the Early Modern period. The study of these treaties helps to characterize the relations between the two member states of the union during its first decades of existence. The translation of these documents—pioneering in Catalan and among the first in any language—offers broader access to all those interested in this entity who do not know Latin or Polish. The philological commentary on the texts provides insights into the scribes and their Latin, often infused with the three dominant languages of the union (Polish, Lithuanian, and Ruthenian), while the historical contextualization highlights the reception of these acts and the implications they had in the political climate of late 14th- and early 15th-century Europe, as well as the circumstances under which they emerged and the problems they sought to address. These documents marked the decline of paganism in Europe through the baptism of Lithuania and would shape the political future of the entire Old Continent.

Several scholars have claimed that, in some medieval texts, character evolves from rhetoric. This study argues that this kind of character cannot be distinguished from rhetoric but constitutes another form of it. The article demonstrates that the work of Baudri of Bourgueil illustrates the solidarity between argumentative rhetoric and character-based rhetoric in _Carmina_ 7 and 8--the eleventh-century Latin verse adaptation of Ovid's _Heroides_16 and 17, the letters of Paris and Helen. Rhetoric and character form a dialogue in Baudri's letters. Paris's use of argumentative rhetoric--rhetoric whose goal is persuasion--gives birth to Helen's character-based rhetoric, drawn from the rhetorical manuals that Baudri knew well. Baudri's use of rhetoric goes beyond linguistic rules and elaborates a dynamic, dialogic process that allows for the development of one of the first characters of the Latin literature of the Middle Ages.

The use of advanced computational methods for the analysis of digitised texts is becoming increasingly popular in humanities and social science research. One such technology is Handwritten Text Recognition (HTR), which generates transcripts from digitised texts with machine learning approaches, to enable full-text search and analysis. Up to now, HTR models for Tibetan manuscripts in cursive script have not been available. This paper introduces work carried out as part of the The Dawn of Tibetan Buddhist Scholasticism (11th-13th) (TibSchol) project at the Austrian Academy of Sciences, which is utilising the Transkribus platform to explore possible solutions to automate the transcription of Tibetan cursive scripts. It presents our methodology and preliminary results along with a discussion of the limitations and potential of our current models.

Master of Histories," pp. -. . The master's death is generally dated to , although contemporary records are not unanimous on this date; see Daly, "Master of Histories," pp. -. person singular (particularly dico and inquam) represent Comestor's speech, serving to emphasize a point that he is making to his students. Similarly, with the third-person plural Peter refers to the course of lectures as a collective enterprise (for example, diximus, 'we have discussed' and legemus, 'we will read') -a convention still observed in any modern classroom. Perhaps most evocative of the classroom setting are the imperative and jussive subjunctive forms of the second person (for example, intelligite, nota, caue ne construas), occurring most frequently in the singular, but occasionally in the plural, which represent Comestor's direct address to his students. These forms sometimes occur when the master is conducting the class through a particularly important or intricate interpretation; nevertheless, Peter most commonly addresses his auditors to provide instructions about how to follow his lecture from their biblical textbook, the Glossa ordinaria (or simply 'the Gloss'). Significantly, Comestor's are the earliest known lectures to comment, not simply on the Gospels, but on the glossed Gospels, or Euangelia glosata -that is, the sacred text as it circulated from the mid-twelfth century with a 'standard' (ordinaria) apparatus of marginal and interlinear glosses drawn from patristic writings. In the prefatory material edited below, Comestor lectures on a series of prefaces drawn from the relevant book of the Glossa ordinaria. Here, Comestor provides a continuous, verseby-verse exposition of each preface in a fashion resembling the 'literary' (i.e. composed rather than orally delivered) commentaries of the period. However, when the lectures turn to the Gospel text itself -a transition that the reader will not encounter . See for example, Beryl Smalley, "Peter Comestor on the Gospels and His Sources," Recherches de théologie ancienne et médiévale ( ), -, at p. .

Brussels, Koninklijke Bibliotheek van België, ms. 1828–30 is a composite codex comprised of two parts of differing date and origin: fols 1–35 and fols 36–109. The first part, whose main content is the Historia apostolica of Arator, dates to the tenth century and was written on the Continent. The latter part (fols 36–109) is thought to have been copied in England during the first half of the eleventh century and then moved to the Continent, where it received additions, to be eventually bound to the first part of the manuscript. Before the two parts of the codex were bound together, one – or more – twelfth–century Continental hands copied poetic  compositions, sometimes fragmentary, on fols 1r and 35r–v, which mark the beginning and the end of the first part of the manuscript. The main contents of these two folios are eight Latin poems, which are somehow connected in content and tone. Five of these poems celebrate the song of the nightingale, while the other three have different subjects but share a riddling quality

See Margaret Gibson, "The Glossed Bible," in B iblia L atina cum G lossa ordinaria, ed. M.T. Gibson and K. Froehlich, (Tumhout, 1992); facsimile o f the Adolph Rusch editio p r in c e p s -Strasbourg, 1480/82, vol. 1, pp. v ii-viii; and Margaret Gibson, "Carolingian Glossed Psalters," in The E a rly M ed ieva l B ible: Its P roduction, D eco ra tio n a n d Use, ed. Richard Gameson (Cambridge, 1994), pp. 78-100. For an overview o f the development o f glossed biblical commentary, see Guy Lobrichon, "Une nouveauté: les gloses de la Bible," in L e M oyen  g e et la B ible (Paris, 1984), pp. 45-114.

This paper accounts for the work undertaken in the preliminary phase of the ALLORA project with the goal of charting a successful path to a comparative study of the languages and practices of legal and administrative life in Romance-speaking Europe between the 12th and 18th centuries. Firstly, we will review the assets and limitations of existing approaches in both historiography and lexicography. We will then relate the ideas we explored for a more interdisciplinary approach.
Questo capitolo dà conto del lavoro svolto nella fase preliminare del progetto ALLORA allo scopo di aprire una strada efficace allo studio comparatistico delle lingue e delle pratiche della vita giuridica e amministrativa dell’Europa romanza tra il XII e il XVIII sec. Dopo aver discusso il potenziale e i limiti di approcci già in vigore nei campi della storiografia e della lessicografia, presenteremo la nostra proposta per un approccio più interdisciplinare.

Сажетак: Велики војвода Радосав Павловић је повељом, издатом 7. априла 1423. године у Борчу, потврдио пријатељство са Дубровчанима, Сандаљеву продају Дубровнику његове половине Жупе Конавли, као и уступање града Соко. Повеља је сачувана у оригиналу и чува се у Државном архиву у Дубровнику.