Academic literature on the topic 'Authorial Philology'

The article adresses the practice of critical editing in Poland. The author, Paweł Bem, calls for an evaluation of theoretical thought underlying the practice of establishing critical editions meant to refl ect an author’s intention, and promotes the New Philology paradigm for scholarly editing. The New Philology perspective provides a methodological background for handling each text as a unique artifact. Bem also advocates for respecting original spellings and opposes standard modernization practices in scholarly editing.

The article addresses the practice of critical editing in Poland. It establishes a framework for the evaluation of the theoretical underpinnings of this practice as a refl ection of the author’s intention. Bem advocates a „new philology” paradigm in scholarly editing. The perspective of „new philology” enables the handling of every text as a unique artifact. Bem is in favor of retaining old forms of spelling and questions the common practices of modenization.

The following article deals with peculiarities of unique lexical compatibility in classical prose of the XIX century and contains preliminary results of the cross-disciplinary corpus research performed by group of scientists of the Ural Federal University. This project suggests creation of individual syntagmatic profiles for the famous Russian writers. With works of I.A. Goncharov as an example and compared to the texts of other authors special context surrounding for words zhizn (life) and zhit (live) is systematized. Initial material is extracted through comparative statistical analysis of bigrams lexical pairs, when used in the same phrase context. Lexems zhizn (life) and zhit (live) are one of the most frequent words in Russian language, however, each author tends to use them in his own, special context surrounding. Novels by I.A. Goncharov (A Common Story, Oblomov, The Precipice, Frigate Pallada) provide relatively more issues of authors individual lexical compatibility for these words, than texts created by others; in addition a full list of syntagmatically active words for Goncharovs texts is represented in this article. Context analysis is conducted to show, how semantic connections between words in contexts reflect conceptual characteristics of Goncharovs idiostyle. Comments on the individual use of words zhizn (life) and zhit (live) by other writers A.P. Chekhov, L.N. Tolstoy, I.S. Turgenev and F.M. Dostoevsky are given. Conclusions are drawn about perspectives of performing comparative statistical analysis of lexical syntagmatics in modern philology

Interrelation of literary and linguistic aspects in translating prosaic literary works - a contemporary American novel - into Russian is dealt with. Paramount attention is focused on the most significant literary aspect - the protagonist’s figure and its characterization formulated by the author of the original as well as her peculiarities recreated and represented in the translated text. The protagonist’s main features are defined concretely on the basis of the authorial description and characterization of her appearance, behavioral, psychological and some other personal individual traits represented in detail in the original, but, however, either deliberately distorted or erroneously translated. The methodology of research is based primarily on the comparative linguistic analysis of relevant excerpts taken from the original and its published translation. Special attention is paid to the results of the performed distortions followed by the authors’ detailed commentaries and, in most cases, their own suggested versions of contextual correspondences. A strictly systematized explicit classification consisting of four types of the translation invariant’s violation, defined and exposed by the authors, will, hopefully, help systematize them while teaching translation to philology students as well as caution translators of literary prose, both beginners and advanced ones, against making mistakes of this sort in their practical creative activities.

Interpretation of Brecht’s ideas and poetics, especially in publications for schoolchildren and teachers, are usually limited by scholasticism or reiteration (or by distortion) of what was said as early as in soviet times. Research aim: to find out characteristic stereotypes and errors of interpretations of drama and work of B. Brecht in the wide reader's accessible sources and to offer the own reading of the play "Mother Courage and Her Children". We underline that the action in Brecht’s works is fully conditional. The subtitle of the play – "The Chronicle from times of Thirty Years’ War" – does not do the literary work a "historical chronicle". It is one of the author’s techniques of the conditional image through the principle of Verfremdung – a term is given in the distorted translation from Russian as "alienation". A widespread stereotype of character perception of Mother Courage as the "bad mother", allegedly opposed against her daughter-heroine, distorts the authorial intention of the play. Brecht’s personages are conditional, not realistic ones: none is an embodiment of a psychologically integral character of the real man, everybody was the author’s megaphone of certain ideas, for criticism of public defects and crimes. Brecht showed Mother Courage as a resilient self-respectful person woman, however unable to provide the future to her children and unable to give up the chosen way of life. The eloquent symbolic motif of the play is the movement of Courage's van in a closed circle. Brecht did not go down to the dogmatic and moralizing theatre. He was a sceptic and he doubted any ideology, morality, values. He cruelly derided primitive ideas about valour and virtue, about respectability and nobleness. He bitterly mocked the weakness of mute victims of violence and lying.

The quantitative analysis of writing style (stylometry) is becoming an increasingly common research instrument in philology. When it comes to medieval texts, such a methodology might be able to help us disentangle the multiple authorial strata that can often be discerned in them (issuer, dictator, scribe, etc.). To deliver a proof of concept in 'distant diplomatics,' we have turned to a corpus of twelfth-century Latin charters from the Cambrai episcopal chancery. We subjected this collection to an (unsupervised) stylometric modelling procedure, based on lexical frequency extraction and dimension reduction. In the absence of a sizable 'ground truth' for this material, we zoomed in on a specific case study, namely the oeuvre of the previously identified dictator-scribe known as 'RogF/JeanE.' Our results offer additional support for the attribution of a diplomatic oeuvre to this individual and even allow us to enlarge it with additional documents. Our analysis moreover yielded the serendipitous discovery of another, previously unnoticed, oeuvre, which we tentatively attribute to a scribe-dictator 'JeanB.' We conclude that the large-scale stylometric analysis is a promising methodology for digital diplomatics. More efforts, however, will have to be invested in establishing gold standards for this method to realize its full potential.

The novel of V. Barka "The Yellow Prince" that showed the truth about the terrible crime of the Stalinist totalitarian regime of the Holodomor in Ukraine in 1932-1933 to the whole world was published in 1962 in New York. Immediately after its publication, it was translated into English. Thirteen years later (1981), its French translation appeared in France; in 2016, the Italian translation followed. In 2009 M. Ostheim-Dzerovych made the German translation of the novel “The Yellow Prince” by Vasyl Barka as the novel entitled "Der gelbe Fürst". The translator was born in Lviv, studied at the Faculty of Philology of the University of Vienna, since 1958 she has been working as a translator. The individual-authorial innovations operating in the novel "The Yellow Prince" demonstrate the literary skill of the writer and the peculiarities of his individual style. The reproduction of an individual style of the author is the most difficult task in the translation of an artistic text. By way of forming calques it was possible for the interpreter to reproduce the words adequately and therefore correspond to the individual style of V. Barka as well as to find certain equivalents. In some cases, the translator uses the lexem Getreide, and in the others she uses the word Brot. Vasyl Barka accurately and clearly conveys the realities of the Holodomor in Ukraine in 1932-1933. His individual names of the months deserve special attention. Using calques while copying the structure of the output lexical unit, the translator reproduces the newly created words. In the German translation, they retain the stylistic colour inherent to the original language.

The object of this research is Ivan Bunin’s prose of the early period – “The Epitaph”. I. A. Bunin is a Neorealist writer of the turn of the XIX – XX centuries, publicist, a unique representative of the white émigré. The subject of this research is the reception of “The Epitaph” by modern audience based on the command of philological text analysis. Having analyzed the traditional semantic components of the literary text (that are part of the concept of “philological text analysis”), the authors offer modern approaches towards representation of the established semantic categories of the text, demonstrate their functionality on the linguistic level, analyze the methods of their lexical representation and verbalization, which determines the novelty of this article. The goal lies in philological analysis of I. A. Bunin's short fiction “The Epitaph”, taking into account the historical-cultural context of its creation, the role of extralinguistic factors in the text, and their reflection on the linguistic level, semantics of the title and keywords in the ideological-thematic content of the work and expression of the authorial position. Alongside the traditional methods of academic philology, such as historical-cultural, biographical, commentary reading, linguistic-stylistic analysis, the research employs the techniques of cognitive linguistics. This article is first to describe the experience of a commentary reading of I. A. Bunin's short fiction “The Epitaph”, which is based on cognition of the semantic components of the work through the prism of a linguostylistic approach within the framework of philological analysis. The authors reveal techniques of reading the text, placing emphasis on the lexical means of representation of the key semantic categories, which on the one hand reflect the writer’s worldview , while on the other – form his individual writing style. Such articulation of the problem determines the prospects for the study of other proses of I. A. Bunin.

At the present stage, due approaches to the formation of civic identity of Russian university students are becoming an important element of learners’ socialisation. The major problems faced by the pedagogues are as follows: first, selection of the content of educational programme or course helping to shape proper values, knowledge and practical competencies; second, methods and pedagogical technologies that are productive and efficient in terms of training of future specialists. Practicing the course “Regional studies (history and art)” will make it possible to acquaint the students with the historical and artistic heritage of their region and provide the insight into the true value thereof through research and interdisciplinary project activities. The main research methods are: analysis of scientific and pedagogical research papers on the history of development of regional studies in Russia, on significance of the historical and cultural heritage for character education, with consideration of approaches to the formation of learners’ civic identity; modelling and experimental approbation of the course involving control (startup) research and final diagnostics, as well as the analysis of obtained results. Diagnostic techniques: Kuhn’s and McPartland’s test modified by Kozhanov; “Index of Tolerance” methodology (Soldatova, Kravtsova, Khukhlaev, Shaigerova), methods for identifying value orientation (Biryukova, adapted); “Incomplete thesis” methodology (Baiborodova, adapted); “Reflecting on life experience” test (Shchurkova, adapted); authorial case assignments and criteria for evaluating academic/creative output. 274 university students from Saint Petersburg, Orel, Magnitogorsk took part in the pedagogical experiment in such areas of training as Philology, Painting and Applied Arts, Design. The course “Regional studies (history and art)” was delivered in the experimental group for three years. The first year was devoted to introductory and preparatory work; the second year was focused on the study of regional architecture; the third year involved implementation of a project – layout of a complex of architectural structures with regard for regional specifics. After a series of classes, the number of students with a high level of civic identity doubled in the experimental group and reached 29%; the number of those with a low level of civic identity decreased by half, down to 18.75%. As to the control group, the indicative figures changed insignificantly. The use of the interdisciplinary course “Regional studies (history and art)” in the professional training of future specialists efficiently contributes to increased level of students’ civic identity. The authors relate the prospects for further research in this area with studying the ways to increase student motivation in project activities of sociocultural character.

The manuscript serves as a window into a nation's civilisation. Manuscripts, also known as "Naskah Kuno" or "Naskah Klasik" in the Malay world, have evolved into important pieces of cultural history that need to be conserved. The purpose of the manuscript is to learn about and comprehend the social conditions of the past and to investigate how culture and science are absorbed, recorded, and repeated. Ibn Khaldun (1332-1406) said that science and civilization are products of a variety of factors, including a) the capacity of governments, social structure, and political authority; b) vocations and livelihood opportunities; and c) the development of science and technology.

During the past decade, there has been an ongoing debate in the dog training circles about dominance based dog training. Much of the debate has been brought on by the popularity of Cesar Millan’s reality television show, The Dog Whisperer. The dog training professionals have expressed their concern over the show spreading ineffective and inhumane training methods based on outdated notions about the dog. The purpose of this study was to investigate the methods used in the show to construct Millan as a dog training authority. The theoretical framework of this work in based on the general principles of Critical Discourse Analysis (CDA) and is complemented with viewpoints from the sociocognitive approach to CDA outlined by Van Dijk. The methodology is based on the frame both Iedema and Pollak have used in their research on television programmes. The results of the analysis were compared to previous research conducted on manipulative discourse. Wodak’s writings have contributed to both the theory and the methodology of this study. The construction of Millan’s authority as a dog trainer is based on a three-layered manipulation of audience reception. The foundation of the manipulation lies in the management of the audience’s emotional state. An emotionally preoccupied viewer has less cognitive energy to critically process messages it receives and is thus more vulnerable to manipulation. The co-operation of the modes — speech, sound and image — is particularly effective in arousing emotional response. The middle layer in constructing Millan’s authority involves building a preferred context model for the audience. A context model contains the mental models activated in the short term memory in a given situation and is used for interpreting messages. By foregrounding elements in the discourse situation, the production can affect the audience’s context model and the interpretations they make regarding the content of the show. In The Dog Whisperer, these elements include, for example, the discourse of dominance related to dogs and the discourse of expertise related to Millan. Also some characteristics of the reality TV genre help in the construction of the context model where Millan is a dog training authority. The final layer of the audience manipulation entails the problem-solution narrative and the many features of manipulative communication used in it. The repetition of messages exercised through all the modes and providing ample amount of pseudo-proof are frequently used tactics in the show in the construction of Millan’s authority
Koiramaailmassa on 2000-luvulla kuhistu johtajuuskysymyksistä, kun Cesar Millanin Koirakuiskaaja-ohjelman suosio on levittänyt tiedemaailmassa yleisesti virheellisenä pidettyyn dominanssiteoriaan perustuvia tehottomia ja epäinhimillisiäkin metodeja laajemmille koiranomistajapiireille. Tämän tutkimuksen tavoitteena on ollut selvittää millaisin keinoin Millanin auktoriteetti koirakouluttajana ohjelmassa rakennetaan. Työn teoreettisen viitekehyksen perustan muodostavat kriittisen diskurssianalyysin yleiset periaatteet. Näitä on täydennetty sosiokongitiivisen suuntauksen näkemyksillä erityisesti Van Dijkin artikkeleiden pohjalta. Tutkimuksen metodologia perustuu Iedeman ja Pollakin televisiotutkimuksessaan käyttämiin multimodaalisen analyysin metodeihin. Analyysin tuloksia on vertailtu aiempaan tietoon manipulatiivisen diskurssin piirteistä. Wodakin kirjoitukset sekä kriittisen diskurssianalyysin teoriasta että metodeista ovat vaikuttaneet työhön merkittävästi. Millanin auktoriteetin rakentuminen tapahtuu kolmessa tasossa. Manipulaation perusta on voimakkaiden tunnereaktioiden yleisölle aiheuttamassa kriittisen ajattelun heikkenemisessä. Katsojien kognition keskittyessä ensisijaisesti tunteiden kokemiseen, havaintokykyä ei enää riitä vastaanotettujen viestien kriittiseen tulkintaan. Tunteisiin keskittynyt katsoja on altis manipulaatiolle. Modaliteettien yhteisvaikutus on erityisen merkittävässä asemassa voimakkaiden tunne-elämysten synnyttämisessä. Seuraava taso Millanin auktoriteetin rakentamisessa on katsojan mielessä aktivoituvien mentaalimallien muokkaaminen. Hallitsemalla katsojalle aktivoituvaa viitekehystä, tuotanto vaikuttaa tulkintoihin, joita katsoja näkemästään tekee. Koirakuiskaajassa tämä viitekehys sisältää diskursseja liittyen mm. dominanssiin ja asiantuntijuuteen. Myös tosi-TV-genre on luomassa katsojalle tulkintaviitekehystä, jossa Millan näyttäytyy koirankoulutuksen asiantuntijana. Kolmas manipulaation taso liittyy itse tarinan rakenteeseen, joka ohjaa katsojaa pitämään koiraa ongelmana ja Millania ratkaisijana, sekä sen sisällä käytettyihin manipulatiivisen diskurssin keinoihin. Näistä erityisesti toisto — kaikilla modaliteetin tasoilla — ja runsas pseudotodisteiden esittäminen ovat keskeisiä keinoja, kun Millanin auktoriteettiä ohjelmassa rakennetaan

This study considers anew the central question of Herodotus’ relationship with literary and textual sources. It examines how Herodotus comes to define his own work in a context where many artists (both narrative and visual) are seeking to accumulate, delineate, and ultimately dictate cultural memory. Rather than applying traditional Quellenforschung, my analysis centres on examining significant intertextual and allusive relationships in his work. In each chapter, I address the nature of Herodotus’ engagement with certain textual rivals/genres, namely early prose writers, inscriptions, poets (expecially Homer, Simonides, Aeschylus, Sophocles), and oracles. From this emerges a highly nuanced engagement with myriad texts in the Histories (principally: as authoritative voices; as persuasive evidence; and as voices for disputation). Such engagement furnishes considerable authority for the writer of the Histories, to the extent that he provides a superior view of the past, compared to the more limited, partisan perspectives offered by his textual rivals. My study reinforces the salient point that Herodotus is no historian in any modern sense of the word; his interaction with other literary traditions does not appear in a way that is expected of an academic monograph. Nevertheless the evidence for his engagement with a wide and diverse group of texts—both contemporary and non-contemporary—clearly militates against the consensual view that Herodotus was working with predominantly unfixed, oral traditions. Indeed, through this interplay with other literary works Herodotus most clearly defines for the reader his own unique intellectual achievement: the invention of historiography.

This thesis examines the memorial meaning attributed to royal power in the Icelandic legal tradition, as it is textually negotiated in sources extant from the period c. 1250-1500. It discusses the significance and functions of the Norwegian king's legal authority as part of the Icelanders' collective remembrance of their country's legal past (spanning the years c. 870-1302), and as a defining element in the creation of the Icelandic identity as a community of law. The scope of analysis covers thirteenth- to fifteenth-century legal sources (sections of law-books and legal texts preserving legal arrangements between Iceland and Norway made in the eleventh century and in the period c. 1260-1302), and a fourteenth-century account of the Norwegian king's involvement in a settlement dispute in ninth-century Iceland. These main sources are analysed against the background of several auxiliary sources (saga narratives, diplomas) from a New Philological perspective and scrutinised using the methods developed in cultural memory studies. This provides a novel perspective on the primary sources, filling a gap in recent scholarship on cultural memory in Old Norse literature and historiography. Both categories of texts, drawing on oral and written traditions of law-making and story-telling, are vehicles for multi-faceted culturally meaningful and often contradictory memories of the Norwegian king. The Icelandic laws preserve provisions bestowed upon the Icelanders by the Norwegian monarchs, whereas the sagas convey semi-mythological images of the monarchs, who act as legislators, negotiators of legal agreements with the Icelanders, and as law-keepers. By analysing the memorial functions of royal power in the primary sources, the thesis argues for the complexity of the Icelanders' self-definition as a kingless community of law, who nevertheless incorporate and actively engage with royal power, which shapes the collective memory of the country's legal tradition.

Depuis les Lumières, la notion de « critique » occupe une place centrale dans les réflexions que les sociétés occidentales conduisent à propos de leur caractère proprement moderne. C’est en étant « critiques » que nous nous distinguons de nos prédécesseurs, ainsi que des sociétés avec lesquelles nous continuons de coexister. En suivant Reinhart Koselleck, on pourrait dire que la « critique » représente ainsi l’un des « Grundbegriffe » de la modernité, c’est-à-dire, un concept fondamental qui non seulement guide, mais rend effectivement possible notre compréhension et notre interprétation des phénomènes en tant que tels. Cependant, si nous tentons de proposer une définition viable de la critique elle-même, nous sommes forcés d'admettre que les récits existants, en fondant la critique dans les capacités inhérentes à l’être humain, souffrent d'une « aporie » qui non seulement contredit la thèse initiale de la critique comme étant un phénomène proprement moderne et spécifiquement occidental, mais finit également par compromettre son efficacité sociale.D'un point de vue philosophique, cette situation logiquement défectueuse et pratiquement intenable demande une réflexion conceptuelle concernant les processus de pensée impliqués dans ce que nous appelons « pensée critique », ainsi qu'une clarification historique des sources sociales des principes guidant cette forme de pensée.Alors, selon une doxa philosophique classique, la clarification conceptuelle de la critique revient à interpréter les écrits de ce qu’on pourrait appeler la « trinité critique » allemande : Kant, Marx, l'école de Francfort. Comme ce phénomène nous intéressait du point de vue de son rôle dans la constitution de la modernité, c'est en raison de sa position historique unique, à savoir sa conjonction avec les Lumières, que nous étions amenés à nous concentrer sur le travail d'Immanuel Kant. À la différence de l’exégèse philosophique antérieure qui assimilait la « critique » de Kant au contenu de sa philosophie en tant que telle, notre interprétation a tenté d’en comprendre le sens en se concentrant sur les «opérations de la raison» qui étaient effectuées au nom de ce concept. Une telle perspective nous a permis de discerner, d’abord, que le geste critique de Kant avait été déclenché par une certaine « rationalité temporelle », elle-même marquée par une attitude assez particulière, a-normative, envers le passé ; deuxièmement, qu’il a été exécuté selon une certaine compréhension de la vérité aux allures dogmatiques ; et enfin, qu’il a été accompli, non pas tellement au nom de la « raison théorique », comme on le pense habituellement, mais plutôt en vue du développement de sa « faculté pratique ».C’est donc en nous basant sur cette analyse de la logique du geste critique de Kant que nous avons entrepris une enquête historique concernant ses origines sociales. Compte tenu de la spécificité de l'objet en question, nous avons d'abord été confronté à la tâche d'adopter une perspective philosophique permettant de saisir son émergence historique. Nous avons tenté de l’élaborer en faisant dialoguer, d’une part, l’«l'histoire conceptuelle» de Reinhart Koselleck et, d’autre part, l’approche généalogique de Michel Foucault – deux perspectives théoriques qui ont également produit leur propre analyse historique au sujet de la naissance de la critique, mais qui semblent toutefois ne pas avoir complètement réussi à rendre compte de son caractère spécifiquement moderne. Néanmoins, c’est en suivant l’histoire conceptuelle dans son insistance sur la nature conceptuelle de la critique ; en adoptant la compréhension que la généalogie propose de son caractère essentiellement « protestataire » ; et surtout en poursuivant les intuitions de Foucault et de Koselleck concernant ses relation complexes avec la religion ; que nous avons pu mener à bien la partie historique de notre recherche et de délinéer le contexte social dans lequel avait surgi le phénomène de la critique moderne
Ever since the Enlightenment, the notion of “critique” occupies a central place in western societies’ reflections concerning their properly modern character. It is by being “critical” that we distinguish ourselves from our predecessors as well as from the societies with which we continue to coexist. Following Reinhart Koselleck, one could say that “critique” represents one of modernity’s “Grundbegriffe” – a fundamental concept which not only guides, but effectively enables our understanding and interpretation of phenomena as such. However, if we try to propose a viable definition of critique itself, we are forced to admit that existing accounts, by grounding critique in the inherent capacities of individual human beings, suffer from an “aporia” that not only contradicts the initial thesis of critique’s properly modern and specifically occidental character, but also ends up compromising its social effectiveness.From a philosophical perspective, this logically flawed and practically untenable situation calls for a conceptual reflection on the thought processes involved in what we call “critical thinking”, as well as a historical clarification of the social sources of the principles guiding such form of thought.According to the common philosophical doxa, the conceptual clarification of critique is tantamount to the interpretation of the writings of the so-called German “critical trinity”: Kant, Marx, the Frankfurt School. Since I was interested in this phenomenon from the point of view of its role in the constitution of Modernity, it was due to its unique historical position, namely, its conjunction with the Enlightenment, that I was led to focus on the work of Immanuel Kant. Unlike previous philosophical exegesis that equated Kant’s “critique” with the content of his philosophy as such, my interpretation tried to unravel its sense by focusing on the “operations of reason” that were conducted in the name of this concept. Such a perspective has enabled me to discern, firstly, that Kant’s critical gesture was set in motion by a certain “temporal rationality”, marked by a rather peculiar, a-normative, attitude towards the past; secondly, that it was executed according to a certain quasi-dogmatic understanding of truth; and lastly, that it was accomplished not in the name of “theoretical reason”, as it is commonly thought, but for the sake of the development of its “practical faculty”. Thus, it was on the basis of this analysis of the logic of Kant’s critical gesture that I have embarked on a historical investigation of its social origins. Given the specificity of the object in question, I was first faced with the task of adopting a philosophical perspective that would be able to capture its historical emergence. I have tried to do this by proposing a combination of Koselleck’s “conceptual history” and Foucault’s “genealogy” – two theoretical perspectives that have produced concrete historical analysis regarding the birth of critique, but seem to have failed to arrive at a fully satisfactory account of its specifically modern character. Nonetheless, it was by following conceptual history’s insistence on the conceptual nature of critique; by adopting genealogy’s understanding of its essentially insubordinate character; and, above all, by pursuing Foucault’s and Koselleck’s intuitions regarding its complex relation with religion; that I was able to carry out the historical part of my research and delineate the social context that gave rise to the modern phenomenon of critique

Il lavoro consiste in un’introduzione al "Cannocchiale aristotelico" di Emanuele Tesauro, che ne affronta le principali questioni testuali e interpretative proponendo dati aggiornati e nuovi approcci critici. Il primo capitolo tratta l’aspetto filologico. Sono ricostruiti la storia del testo e l’ambiente in cui esso prende forma; sono studiate le varianti delle edizioni riviste dall’autore; è proposta una nuova guida alla struttura definitiva dell’opera. Il secondo capitolo tratta i meccanismi compositivi del testo. Si studia, innanzi tutto, la fitta rete intertestuale, individuando le fonti e i metodi del loro utilizzo. Si propone poi un’interpretazione innovativa del tessuto narrativo dell’opera, fondato sul dialogo tra l’autore e Aristotele, e l’autore e il lettore: la conclusione è che quest’ultimo è invitato a partecipare dalla forma drammatica del testo, che ne favorisce lo sviluppo dell’apprendimento e, al tempo stesso, lo intrattiene. Il terzo capitolo è dedicato allo stile e all’uso della retorica. Dopo aver dibattuto la vicinanza al genere del panegirico in prosa, si mostrano le peculiarità del "Cannocchiale", che sfrutta tutte le possibilità della letteratura barocca per trasmettere più efficacemente, mostrandone concretamente i meccanismi, la teoria e la pratica delle argutezze.
This introduction to Emanuele Tesauro’s “Il Cannocchiale aristotelico” provides for the first time a unified research on different aspects of one of the most complex and eminent treaty of the Seventeenth Century European literature. First, philological questions are investigated, involving, through the treatment of new data, the history of the text, changes between the editions approved by the author and the general structure. Then, intertextual aspects, as quotations and imitations, are clarified, in order to make understandable the complex work of the author on the text. In add, a narrative pattern is discovered above the highly rhetorical composition of examples: it works as a dramatic dialogue on witty matters between the author and Aristotle, and then the author and the reader, who is fascinated and involved in this formative dramatization. The final chapter is dedicated to the style and the use of rhetoric. A connection with oratorical genres, such as panegyric, is pointed out, as are the philosophical peculiarities of the “Cannocchiale aristotelico”, a guide for human understanding which uses for its aim all the potentialities of the Baroque literature.

Autoriteto sąvoka yra seniai įsigalėjusi ir veikianti visuomenėje, kaip įtakos, galios, absoliutaus pasitikėjimo ir pranašumo prieš kitus simbolis. Autoritetas yra patraukiantis pavyzdys, kuriuo žavimasi, o kartu sąmoningai ar ne norima jam prilygti – įgauti autoriteto turimą pagarbą, mėgautis jo sėkme. Dabartinėje visuomenėje tradicinio religinio autoriteto formos yra tik vienos iš daugelio dominuojančių autoritetų, kurie egzistuoja nebe kaip viską apimantys, viską žinantys ir teigiantys, o atvirkščiai specializuojasi į tam tikras skirtingai apibrėžiamas, vertinamas ir suprantamas sritis. Autoriteto sąvoka modernioje visuomenėje daugiau siejama su specialisto, eksperto apibrėžimais. Autoritetas suprantamas kaip tam tikros srities lyderis, kuris savo pranašumu traukia pasekėjus ir savo sėkmės pavyzdžiu formuoja jų siekiamybes. Reklamoje pasirodanti autoriteto figūra tampa neatskiriama populiariosios kultūros dalimi. Toks autoritetas nebepriklauso pats sau, jo įvaizdį kuria imagologai, kurie autoritetą paverčia reikiamu vaizdu ir žodžiais – taip autoritetas tampa simuliakru – veidrodžiu, atspindinčiu ne šalia vykstantį gyvenimą, bet imančiu vaizduoti imagologų norimą sukurti tikrovę. Taip autoritetas, veikiantis reklamoje, už tam tikrą mokestį sutinka atiduoti dalį savo populiarumo reklamuojamam produktui, nes tikėtina, kad jį gerbiantys ir pasitikintys žmonės lygiai taip pat ims pasitikėti reklamuojamo produkto verte – šis procesas vadinamas dalinimusi simboliniu kapitalu... [toliau žr. visą tekstą]
Notion of authority has been prevailing and well functioning in society, like symbol of influence, power, and absolute confidence and advantage over others. Authority is an attractive example widely admired at, and thus consciously or not wanting to equal it – to acquire the respect featured by the authority, to enjoy its success, and so on. In the current society, traditional forms of religious authority is only one of the most dominant authorities, which no longer exists as a comprehensive, all knowing and claiming, but specializes in a number of differently defined, understood and valued areas. The concept of authority in modern society is more associated with the specialist, the expert definitions. Authority is understood as a leader in some field, which by his/her advantage attracts followers and, based on his/her success, forms others’ strivings. Authority figure appearing in advertisement becomes an integral part of popular culture. Such authority no longer belongs to him/herself, his/her image is created by image makers, who turn authority into the right image and words: in this way authority becomes simulacra, the mirror, reflecting not a near-going life, but showing the reality desired to create by image makers. Thus, authority, acting in advertising, for a fee agrees to surrender a part of his/her popularity to the product being advertised, as it is likely that abiding and confident people in the same way will trust the value of the product being advertised, a... [to full text]

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.

This book is a tribute to Giovanna Brogi Bercoff, Full Professor of History of Russian at the State University of Milan and a leading authority on Polish studies, mediaeval Russian literature and Ukrainian studies, both in Italy and abroad. Former Chairman of the Associazione Italiana degli Slavisti, she contributed to project Italian Slavic studies into an international dimension. Among the most significant aspects of her intense academic and teaching career we should mention the pioneering studies on historiography and the Baroque culture in the Slavic area, as well as the introduction of Ukrainian studies at the University of Milan. The authors of the essays collected here, which range from linguistics to philology, and from literary theory to history, are Italian and foreign scholars of different generations and different cultural backgrounds.

Daniel Heinsius and Hugo Grotius worked on the New Testament in the same decade, 1630–1640, and within the same genre of a selective annotation, but they ended up publishing two contrasting types of commentary, with diverging consequences for the authority of God’s Word. Two factors shaped these different outcomes. First, the instrument of philology was subjugated to different philosophical agendas: Heinsius aimed at highlighting the existence of a Hellenistic language, while Grotius was driven by the wish for Christian reunification. Secondly, as an exile Grotius enjoyed greater freedom than Heinsius, who taught at Leiden University. These contexts either stimulated or neutralized the subversive potentiality of biblical philology. A comparison with the agendas and positions of other contemporary critics illustrates the inherently destructive effects of philology upon scriptural authority.