Auswahl der wissenschaftlichen Literatur zum Thema „Autograph book“

The review considers two new editions, connected by the theme of autographs, - “The Bibliophile Garland to Anna Akhmatova. To the 125th Birth Anniversary: the Autographs in the Collection of M. Seslavinsky” and “The Art of Autograph. Inscriptions of Writers and Artists in the Private Collections of Russian Bibliophiles”, published in 2014-2015. Description and identification of the autograph, its introduction into scientific use, as well as its study are relevant problems of today, as the accumulated handwritten material of this kind requires samples of cataloguing. The Russian collectors propose to comprehend such material accumulated in private collections, publish previously unknown autographs, manuscripts, epistolary heritage of Russian poets, writers and artists. Peer-reviewed publications are required in the work of experts - literary critics, art historians, book historians, culturologists, students of specialized educational institutions, and all the interested in the history of the Russian culture.

On the Book Illustration Exhibition dedicated to the life of V.I. Vernadsky. The exhibit displays reflect practically all the activities of Vladimir Vernadsky: his lifetime printed research works (including autograph notes of V.I. Vernadsky), its reissues, books issued to the other anniversaries of the scientist, publication of his correspondence and diary records of 1917-1925, books on life and work of V.I. Vernadsky, written inclusively by his students and followers.

Of maimonides' (1135–1204) prinicpal philosophical work Dalā al-Hāirīn (More Nevuxim) four autograph fragments are known, each from a different Geniza collection:The first discovery was made at the beginning of the century by H. Hirschfeld, Who identified two unjoined leaves in the Geniza collection of the University Library, Cambridge, and Published them, with photographs, in JQR, xv, 1902–3, 677–81 under the title: ‘The Arabic portion of the Cairo Geniza at Cambridgem IV. Two autograph fragments of Maimonides’ Dalālat al Ḥārin, These leaves cover Book I, chs. 64–65 and Book II, Chs.32–33

This paper identifies, describes and analyses Isaac Newton's known inscriptions in alba amicorum (autograph books). It begins with an introduction to the early modern autograph book and its social utility for travelling students. Each Newton inscription is contextualized with brief biographies of the individual album owners. The potential reasons for Newton's use of his chosen epigrams are considered, as are possible reflexive dynamics between him and the album owners that may have helped to inform these choices. An allied consideration is the degree to which Newton's epigrams relate to scholarly projects with which he was engaged when he penned them. A special feature is the identification of the owner of an album from which a Newton inscription was stolen more than half a century ago. This study offers a glimpse of Newton's intellectual reputation across several decades, both on the Continent and in his native England. More broadly, this paper makes contributions to our understanding of Newton's personal life and the strategic use of alba amicorum in the late seventeenth and early eighteenth centuries within the Republic of Letters.

Every autumn Muscovites who like books eagerly anticipate the most important event of the year, a great international book market in Moscow where almost every publishing house in the country presents its new offerings. This event represents an occasion to look at and buy new books, and a chance to meet a favourite author and receive an autograph. It is almost certain that the most popular authors will be the well-known women writers of crime stories. While some of the male writers may feel offended, it is a well-known fact that the Russian literature of detection is dominated by women.

The article investigates and publishes a previously unknown note-autograph of Orest Nasturel, a famous book figure of the first half of the 17th century, who made a significant contribution to the popular education in Wallachia. Orest Nasturel held the high position of the second logothete at the court of the Wallachian ruler Matei Basarab. Despite his busy schedule, he devoted much of his time to collecting ancient manuscripts, translating Latin and Church Slavonic books into Romanian, and publishing them. Establishing the facts of Orest Nasturel’s biography is based, in historiography, on the analysis of the records he left in books. The scientific novelty of this research stems from the fact that, for the first time, there is introduced into scientific circulation Orest Nasturel’s handwritten owner’s entry, found in the manuscript book of Catecheses of Theodore the Studite in the Collection of SlavonicRussian Manuscripts of E.E. Egorov of the Russian State Library (Manuscripts Department, coll. 98, no. 949). According to this record, dated 1642, Orest Nasturel, inspecting once the sovereign’s monasteries, found in the Snagov Monastery (now Romania) an ancient manuscript crumbling from decay. Since it was not possible to save it, Orest Nasturel made a long journey to Rybnitsa (now the Pridnestrovian Moldavian Republic), where a famous book master named Nikolai made for him, in 1642, a copy of this book, which Orest then put into the Trinity Cozia Monastery (now Romania.) In the 19th century, the book was taken in Russia, probably by Russian old believers, where it first came to the collection of the antiquarian-bookseller I.L. Silin, and then was purchased from him by E.E. Egorov. The author conducted the dating of the manuscript’s watermarks (the 1640s) and compared the note’s handwriting with known autographs of Orest Nasturel. It is noted that the beautiful head-piece and the initials of Egorov’s Collection are close to the manuscript of Octoechos of the middle of the 17th century, stored in Belgrade in the Library of Serbian Patriarchate. According to a postscript in it, the Octoechos was made in a Slavic monastery of Athos. It is established that such decoration was quite popular for South Slavic manuscripts in the middle of the 17th century, and, therefore, it was hardly copied by the scribe Nikolai from an ancient original. The main results of the study are the detection, identification, attribution, reading and publication of the previously unknown note-autograph, as well as geographical and chronological localization of the list. The author emphasizes the value of Egorov’s Collection for studying by the specialists in the field of philology and linguistics, and sets a promising task of recreating the content, language features and dating of the lost protograph.

The current doctoral study uncovered and revived 28 autograph cantatas for Soprano and Basso Continuo composed between 1704 and 1705 by Alessandro Scarlatti (1660-1725). The studied cantatas are held in a manuscript containing 36 cantatas (one of which misses the beginning) in Yale University, Beinecke Rare Book and Manuscript Library, James Marshall and Marie-Louise Osborn Collection, Call Number: Osborn Music MS 2. The historical context in which the cantatas were written and performed is introduced. A physical description of the manuscript follows, with the aim to assist the reader in achieving a better appreciation and understanding of these cantatas in terms of performance practice. The relation between the text and the music, and the adaptation of the rhetorical characteristics of the text into music, are two of the most salient features of this cantata collection. These features are described in great detail and their implications for the performance of the cantatas have been explored. A major contribution of this study in the field of performance practice is the production of a modern performing edition with an editorial commentary and of a recording of the 28 autograph cantatas with harpsichord accompaniment.

The purpose of this study is to investigate if three scientific articles concerning the cataloguing of alba amicorum written in the 1980’s and early 1990’s had any influence on the cataloguing of alba amicorum. Another purpose is to investigate the similarities and differences between the catalogues from the late 1980’s and onward. The focus lies on the categories used when cataloguing the alba. Alba amicorum are catalogued on two levels: on a general level, i.e. the album as a whole is catalogued and in addition all the inscriptions in the album are cata-logued separately, the so-called leaf cataloguing. The study uses a comparative method. First the three scientific articles are compared with each other, then nine catalogues of alba amicorum from 1988 and onward, five printed and four online ones, are investigated regarding which categories are used respectively not used in the different catalogues. Then the categories pro-posed in the scientific articles are compared with the ones used in the catalogues. One result of the study is that the differences in the cataloguing on the general level between the printed catalogues are small but that the variation is larger amongst the online ones. The same patterns cannot be seen regarding the leaf cataloguing; here the variation between the catalogues is generally somewhat larger but the most central categories can be found in all catalogues. Another result is that some of the categories in the cata-logues reflect the printed or online form of the catalogue. The study shows that it is hard to define exactly which influence the scientific articles had on the catalogues but that it probably hasn’t been that large. Many of the categories occurring in the catalogues have been used when cataloguing alba amicorum since the early 1900’s. Maybe one could say that the alba themselves are con-stituted in such a way that it is more or less natural which categories should be used when cataloguing them. This is a two years master’s thesis in Archive, Library and Museum studies.

Cette thèse entend proposer une analyse originale du phénomène connu mais polémique que constitue l’introduction de la notion d’auteur dans la littérature de langue française au Moyen Âge. Il s’agira d’essayer de contribuer à repenser la signification poétique, culturelle et historique de ce moment particulier où l’auteur – c’est-à-dire l’attribution d’un texte ou d’une série de textes à un nom propre donné – s’est imposé pour la première fois comme un critère structurant et primordial dans la production et surtout la transmission des textes de langue française dans les manuscrits médiévaux. Usant du concept foucaldien de fonction-auteur, des théories de la réception et du paratexte, ainsi que de la « Nouvelle Codicologie », l’approche déployée ici aborde l’auteur en tant que construction textuelle et éditoriale signifiante au sein d’un corpus de recueils littéraires de langue d’oïl où la volonté de construire des figures d’auteurs par les éditeurs de ces ouvrages est à la fois claire et indiscutable. Partie à l’origine d’un examen systématique de la tradition manuscrite d’environ 320 noms de poètes de langue d’oïl actifs entre 1100 et 1340, l’analyse se concentre principalement sur 25 manuscrits contenant des collections auctoriales dédiées à 17 poètes, dont le nom est associé avec insistance à une série de textes copiés les uns à la suite des autres. Parmi ces auteurs, on trouve les célèbres Chrétien de Troyes, Rutebeuf et Adam de la Halle, mais aussi Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin et Nicole Bozon. La présente analyse tente de nuancer et de dépasser la lecture répandue selon laquelle ces manuscrits à collections auctoriales individuelles constitueraient, de concert avec les fameuses biographies de troubadours et les chansonniers de trouvères, souvent présentés comme leurs « ancêtres », les débuts balbutiants d’une vaste épopée de l’avènement de l’« auteur moderne », annonciateur tout à la fois d’une « subjectivité littéraire », d’une « esthétique autobiographique » et d’un contrôle accru des auteurs historiques, réels, sur la transmission manuscrite de leurs propres œuvres. Tout en offrant une mise à jour contextuelle et matérielle – données originales à l’appui – concernant la dimension collaborative de la genèse de ces recueils et le caractère modulaire de leur transmission, on montrera qu’ils sont le fruit d’un dialogue nourri avec le modèle livresque latin et pluriséculaire de l’auctor – qui est à la fois un auteur, un garant de la vérité (auctoritas) et un ambassadeur prestigieux de la grammaire –, ainsi qu’avec l’antique exemple d’œuvres dites « biobibliographiques », qui décrivent la vie et l’œuvre d’auteurs illustres et exemplaires, comme le fait le De viris illustribus de saint Jérôme. Les manuscrits étudiés usent à répétition de ce modèle ancestral de la biobibliographie (« la vie et l’œuvre ») pour mettre en scène un face-à-face entre auteurs de langue d’oïl et auctores. Or cette mise en regard s’avère d’autant plus intéressante que, contrairement à ce qu’on observe pour les troubadours, considérés très tôt comme de nouveaux auctores illustres en langue vulgaire, dignes de cautionner l’excellence de la poésie et de la grammaire d’oc, elle ne prend pas uniquement, en français, la forme d’une imitation ou d’une adaptation de modèles anciens. En fait, l’analogie avec les auctores donne lieu à des exercices savants, autoréflexifs et parfois ironiques sur la fabrique éditoriale, poétique et épistémologique du type d’auteur et d’auctoritas qui peuvent (ou non) être bâtis dans des recueils en langue d’oïl, idiome qui était encore dépourvu à l’époque (1100-1340) de véritable grammaire, et où fleurissaient en revanche les genres littéraires de divertissement comme le roman, où l’on explorait la porosité des frontières entre le vrai et le faux, entre le bien et le mal. Plus qu’un pas pris dans la direction d’un sacre inéluctable, l’« invention de l’auteur français » à laquelle procèdent les recueils étudiés est un geste pétri des incertitudes et des interrogations de ceux qui le posaient, et qui en mesuraient la profonde vanité au regard de Dieu et de la mort.
This thesis aims to provide an original analysis on an often studied yet controversial issue: the introduction of the notion of authorship in French language medieval literature. The objective here is to reconsider the poetic, cultural, and historical signification of the particular moment when the author – understood here as the attribution of a text or of a series of texts to a proper noun – first became an essential structuring criteria in the production, and more importantly, in the transmission of French-language texts through medieval manuscripts. Using Michel Foucault’s concept of fonction-auteur, theories of reception and of the paratext, as well as New Codicology, this thesis will consider the author as a signifying textual and editorial construction within several literary collections written in langue d’oïl, in which the editors clearly and undeniably sought to construct figures of the author. Based on the systematic examination of the manuscript tradition of approximately 320 names of langue d’oïl poets, who were active between 1100 and 1340, this analysis will focus primarily on 25 manuscripts containing authorial collections dedicated to 17 poets, whose names are strongly associated with a series of texts that are copied one after the other. Among these authors are the famous Chrétien de Troyes, Rutebeuf and Adam de la Halle, as well as Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin and Nicole Bozon. This thesis attempts to question and ultimately discard the common conception according to which the manuscripts containing individual authorial collections constituted – along with the famous biographies of the troubadours and the chansonniers of the trouvères, often considered as their « ancestors » – the timid beginnings of the rise of the « modern author », himself a prequel to « literary subjectivity », « autobiographical aesthetics » and an ever stronger control exerted by actual empirical authors over the manuscript transmission of their own works. While offering contextual and material updates – supported by original data – regarding the collaborative process that went into the creation of these collections, as well as the modular aspect of their reception, this thesis will show that these collections were formed through a rich dialogue with the centuries-old latin model of the auctor – who is at once an author, a guardian of truth (auctoritas) and a prestigious ambassador of grammar –, as well as with the antique tradition of « biobibliographical » texts, dealing with the life and works of famous and exemplary authors, such as De viris illustribus, by saint Jerome. The manuscripts studied here repeatedly used this ancient model of biobibliography (« the life and works ») in order to stage a competition between authors writing in langue d’oïl and auctores. This confrontation is particularly interesting when one considers that – contrary to what may be observed in the case of the troubadours, who were quickly seen as the new illustrious vernacular auctores, worthy of vouching for the excellency of langue d’oc poetry and grammar – , we are not simply dealing here with a form of imitation or adaptation in French of ancient models. In fact, the analogy with auctores allows for autoreflexive and sometimes ironic learned exercises, dealing with the editorial, poetic and epistemological creation of the type of author and auctoritas in manuscript collections in langue d’oïl, an idiom which at the time (1100-1340) lacked a true grammar, yet was used in various literary genres meant for entertainment, such as romance, which explored the evanescent barriers between truth and lies, good and evil. Rather than a small step in the long path towards an inevitable coronation, the « invention of the French author » undertaken by these collections constitutes an action that reflects all the uncertainty and interrogations of those who undertook it, while being fully convinced of its utter vanity in the eyes of God and death.

In this article I will study the hagiographic play Barlaán y Josafat, by Lope de Vega, from two different perspectives. On the one hand, I will analyze the dialogue between the two texts, as the comedia has a version transmitted by an autograph manuscript by Lope and another one transmitted through printed books and sueltas. On the other hand, I will focus my attention on the dialogues in the play, since they are useful to better understand the work of composition and preparation of the copy of the comedia by the playwright, as well as the company’s work on the text.

In introducing the first session, the A. stresses that gender issues are now central to our country’s cultural, political, and social-economic agenda, and how the promotion of inclusive language is important for the social and legal recognition of categories of discriminated or otherwise marginalized. by an autograph manuscript by Lope and another one transmitted through printed books and sueltas. On the other hand, I will focus my attention on the dialogues in the play, since they are useful to better understand the work of composition and preparation of the copy of the comedia by the playwright, as well as the company’s work on the text.

Abstract Handel’S ‘precompositional’ autograph materials include three basic kinds of items: sketches, drafts, and fragments. The bulk of his sketches and rejected drafts, along with detached sections from other autographs and Handel’s hand written copies of works by other composers, reside now in the Fitzwilliam Museum, Cambridge. To these we can add the drafts and fragments sometimes found in the British Library autographs. Throughout this book the term sketch refers to musical ideas, generally brief, that Handel more than likely jotted down before setting out to compose a piece in score, though some sketching may have taken place during the process of composing. A draft, on the other hand, is a piece that was laid out in score in a more ‘public’ manner: after all, drafts were ultimately to be viewed by copyists, whereas sketches served the composer alone. Drafts apparently originally formed part of (or at least were originally destined for) the autograph composing score, but were rejected and in many cases replaced by new settings. Most often drafts were never fully orchestrated, but the score layout makes it clear that Handel intended to do so.

Chapter 3 examines six manuscript books which influential hostess Sarah Sophia Child-Villiers, fifth Countess of Jersey (1785–1867) kept in 1805–24. It argues that these manuscript compilations are overlooked technologies of power, influence, and creativity in elite Regency social and literary networks. The books reflect the shift towards collecting original poems during album-keeping’s transition to a popular practice, and show Jersey’s developing consciousness of the album as an expression and extension of her own identity. The albums document the range of reading, copying, and composing practices associated with guests’ visits to the Jerseys’ house at Middleton Park, from parlour games and flirtation, more formal and public tributes, and prestigious personalized poems in autograph by celebrated poets including George Crabbe, Lord Byron, and Thomas Moore, as well as overlooked society poets such as W. R. Spencer.

In this chapter we present results of our research on a collaborative platform that enables employees of a global company to present themselves, their business and company site in a company-wide autograph book. For the content generation the employees received an innovative technology, an application running on an Ultra-Mobile Personal Computer (UMPC) that enables users to generate video, sound, simple text, drawings, and photos. Main goal of this applied research is to bridge the gap between the various company sites, to foster working relationships and to strengthen the common understanding that each employee is part of a people company. This chapter describes the application, it presents an analysis of the generated content, the evaluation of the users’ acceptance of the UMPC application and the autograph book and finally an outlook on further research activities informed by these results.

Abstract Handel’s earliest efforts at composition are lost, though we could make some guesses about their genres and style from the works of those composers that he studied during his musical education - Zachow, and the composers represented in his 1698 copy-book. His earliest surviving musical autograph is of the F major setting of Laudate pueri, Dominum (HWV236).

Abstract Succumbing to Wanderlust, Felix yearned to depart for Italy, though he first celebrated his twenty-first birthday with panache: a military band serenaded him, and Heinrich Beer presented a Mozart autograph sketch- book. But some professional concerns intruded. At the beginning of 1830, the University of Berlin created a new professorship in music for Felix. Declining the honor, he advocated for Marx, who won the position later that year; Felix also refused an invitation to conduct again the St. Matthew Passion.

Abstract In Book N of the autograph manuscript of the otherwise patriotic monastic chronicle Eulogium Historiarum, the narrative of British geography and the different ‘nations’ of Britain is interrupted by the insertion of two quires—in the author’s hand—containing Jean de Roquetaillade’s popular and vehemently pro-Valois apocalyptic tract, Vade mecum in tribulatione. This is a rare case of textual crisis akin to the sudden wail of an emergency warning signal drowning out the evening news: the voice of the Malmesbury chronicler writing in the early 1360s gives way to the prophet who has scheduled the advent and rule of Antichrist, followed by the beginning of a ‘third age’ of spiritual renewal just then, between 1360 and 1370. The account of British national legitimacy that the chronicler nevertheless continues to pen in Book V takes on new meanings in light of this End of History in the middle of his work.

The written culture of a people is impressive in terms of heritage documents. These include books, the press, old prints and manuscripts, maps. According to their scientific importance, the Library’s collection includes current books, old books, books that, regardless of the year of publication, have special graphic qualities of the cover, title page, valuable content, atypical format, illustrations by well-known artists, and books with special bibliophile value with the signature or autograph of the author/donor. In libraries, such documents come from private donations and libraries; they are collected by professional people who activated in a certain period of time. These donations are managed in the form of special collections at the Arts Branch. In this context, the question of managing this special fund appears, i.e. the inventory, cataloging and preservation of the fund, the elaboration of a common Bibliography for all branches of “B. P. Hasdeu” Municipal Library, which would be permanently completed and therefore become everybody’s common good.

The article analyzes the perception of Japan in the middle of the 19th century through the eyes of the Russian writer Ivan Goncharov. As secretary of Yevfimiy Putyatin’s mission (who concluded the first Russian-Japanese treaty in 1855), he kept travel notes, which later turned into a famous essay about a trip to Japan. The study is based on a rare edition of “Russians in Japan”, published in 1855, a few years before the appearance of the famous book “Frigate Pallada”. Goncharov’s notes marked the beginning of a new stage of awareness about Japan in the Russian Empire. His impressions added new colors to the portrayal of the country of Rising Sun, which Russians already knew from notes about the captivity of Vasily Golovnin (1816) and the three-volume work of the famous German Japanologist Philipp Franz von Siebold (1854). The valuable edition of Goncharov’s notes from the Library of the Faculty of Asian and African Studies of St. Petersburg State University (with an inscription from the author to Putyatin) differs from the text in the “Frigate Pallada” that was subjected to severe revision. Unlike this later version, this one, in many ways, resembles the unredacted travel notes made by Gonncharov during the Putyatin’s mission. Also, Iosif Goshkevich, who mastered the Japanese language during his stay in the country, accompanied Yevfimiy Putyatin as an interpreter. “Russian-Japanese Dictionary” (in fact, it is a Japanese-Russian dictionary) was published by him in collaboration with Tachibana Kosai in 1857. Two copies of this dictionary are available in the faculty’s Library (with autographs). One was a gift from Nicholas of Japan, and another - from the faculty teacher Kurono Yoshibumi. The authors aim to familiarize the general public with these rarities of the Library, which date back to the time of the conclusion of the first treaty between Russia and Japan and are directly related to the beginning of Russia’s in-depth acquaintance with Japan.