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1
Velikodnaya, Irina L. "Collection of Autographs". Bibliotekovedenie [Library and Information Science (Russia)] 1, n.º 1 (28 de febrero de 2016): 55–59. http://dx.doi.org/10.25281/0869-608x-2016-1-1-55-59.
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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.
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Matrozova, Lira V. y Svetlana V. Zavadskaya. "“N.V. Gogol — Artist and Thinker. 200th Anniversary of the Birth”. Exhibition at the Russian State Library". Bibliotekovedenie [Russian Journal of Library Science], n.º 3 (25 de mayo de 2009): 9–10. http://dx.doi.org/10.25281/0869-608x-2009-0-3-9-10.
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The article deals with the opening of the exhibition dedicated to the 200th anniversary of the birth of Nickolay Gogol. Many editions presented at the exhibition contain autographs of Russian writers and poets, including the Gogol’s autograph. Director General of the Russian State Library V. Fedorov and the Head of Manuscripts Department V. Molchanov and others took part in the opening of the exhibition.
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Pawłowska, Eliza. "In search of truth in service of beauty: the comparison of the autograph of Sonata in a minor by Franz Schubert with available editions". Notes Muzyczny 2, n.º 16 (30 de diciembre de 2021): 9–57. http://dx.doi.org/10.5604/01.3001.0015.5485.
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Musicians attach increasing importance to the selection of edition they use for playing. There is a growing awareness of the influence of score material selection on interpretation. Historical performance raises the bar as well by encouraging the use of autographs, manuscripts and first editions. Thanks to referring to historical materials, we can quickly appreciate the effort of contemporary editors who – once publishing scores today – make them much more accessible. It would seem that basing one’s interpretation on an urtext edition should be a perfect solution combining today’s clarity with historical truth. The analysis shows, however, that even these trustworthy urtext editions differ from one another, thus differ from the autograph. Using Sonata in A Minor D 385 by Franz Schubert as an example, the article shows different approaches to music text edition. There are distinct ways in which editors interpret articulation, dynamics, and even sound pitch. The biggest number of differences can be found in terms of articulation, which it largely connected with the necessity to read handwritten material. Unambiguous deciphering (and exact placement) of numerous music markings can sometimes be downright impossible. That is why editors often use the method which consists in searching for analogies between fragments and parts, yet this method does not always seem right. As performance practice shows, treating each part individually, playing a similar fragment in a dissimilar way, often brings interesting results interpretation-wise. The article encourages own experiments, using doubts as material for interpretation, and using the benefits of contemporary editions cautiously.
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Mäkilä, Sasha. "Kohti kriittistä editiota. Musiikkifilologinen analyysi Leevi Madetojan ensimmäisen sinfonian käsikirjoituslähteistä". Trio 10, n.º 1 (10 de julio de 2021): 9–39. http://dx.doi.org/10.37453/trio.v10i1.110033.
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Leevi Madetoja’s (1887–1947) first symphony in F major, opus 29 (1916) was not printed during the composer’s lifetime. All performances of the work until the 1980s were played from handwritten orchestra parts. The printed score by Fazer from 1984 is riddled with numerous omissions, wrong pitches and mistakes in articulation and dynamics, and it seems to be a hybrid of the composer’s two manuscripts from 1916 and 1943 by an unknown editor. By today’s standards, the result is questionable, considering that the manuscripts were separated by 27 years. This article takes a look at the manuscript sources of Madetoja’s first symphony and is part of a larger project producing critical editions of Madetoja’s orchestral works. My research question is, what are the manuscript sources of Madetoja’s first symphony, and how are they related? I describe the autographs and handwritten orchestra parts and locate them in the source chain using genealogical reasoning and biographical information. I point out which orchestra materials and autographs are connected and highlight essential differences between the manuscripts from the point of view of the critical edition. Finally, I consider which of the autographs would be best suited as the principal source of the new critical edition.
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Shvaikina, Svetlana A. "Books with Autographs of the Nizhniy Novgorod Doctors". Bibliotekovedenie [Russian Journal of Library Science], n.º 6 (12 de diciembre de 2011): 50–57. http://dx.doi.org/10.25281/0869-608x-2011-0-6-50-57.
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The article is concerned with the books autographed by the doctors, who lived and worked in Nizhny Novgorod in the middle of the XIX — early XX century, from the collection of rare and valuable editions of Nizhny Novgorod State Medical Academy Library. Little-known data on the medical and social activities of the mentioned representatives of the Nizhniy Novgorod medicine are highlighted.
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Helman-Bednarczyk, Zofia. "The New Edition of Chopin’s Correspondence". Musicology Today 13, n.º 1 (1 de diciembre de 2016): 3–20. http://dx.doi.org/10.1515/muso-2016-0009.
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Abstract Some of Fryderyk Chopin’s letters were published individually or in groups already in the 2nd half of the 19th century. With the passage of time, more letters from and to Chopin were printed in monographs dedicated to his life and work. The first editions of Chopin’s collected letters come from the 1st half of the 20th century (by Scharlitt and von Guttry in Germany, Henryk Opieński – in Poland). B.E. Sydow’s Fryderyk Chopin’s Correspondence of 1955 continues to be used as the basic source edition by Chopin biographers. It has many strong points, but has become largely outdated. The research project dedicated to the new source edition of Chopin’s correspondence is implemented at the Institute of Musicology, University of Warsaw by Zofia Helman, Zbigniew Skowron and Hanna Wróblewska-Straus. It aims to edit and publish all the preserved letters written to and from Chopin. As a result of many historical cataclysms in the 19th and 20th centuries, some of Chopin’s letters have been lost or dispersed. Our edition consists of 3 volumes (Vol. I – Warszawa 2009, Vol. II – in print, Vol. III – in preparation). All the letters have been edited from sources: the preserved autographs by Chopin and other persons, autograph reproductions in various publications (if the original is now lost or inaccessible), and if reproductions are also unavailable – on the basis of a selected edition (not necessarily the first). Our edition is also the first to include summaries of lost letters to Chopin (based on Karłowicz’s publication of 1904). In comparison with earlier editions, the number of published letters has increased, and we added descriptions of the autograph sources that we used as the basis for our edition. Earlier dating of letters which contain no date in the manuscript has been verified, and some dates – changed or established for the first time. Commentaries and notes accompanying the letters are significantly more extensive in this edition than in any previous one, and they include: remarks on text edition, biographical notes for persons mentioned in the letters, explanations concerning places, identification of musical and literary works, theatrical plays and other works of art referred to in the letters; historical commentary on the events described; information concerning cultural life (concerts, opera and theatre performances). We have frequently had to confront confabulated material repeated for many years in musicological studies and deeply rooted in collective awareness. We have also corrected numerous misspelt surnames and thus pointed to the true identity of many hitherto unidentified figures. Our research on the letters has made it possible to establish or confirm some facts from Chopin’s life, such as new details of his stays in Munich and Stuttgart on the way to Paris in 1831, the exact date of his arrival in Paris (5th October 1831), details of Chopin and Hiller’s trip to Aachen to the music festival of the Lower Rhine, to Düsseldorf (in May 1834), as well as the definite date of the Polish concert in the Parisian Théâtre-Italien (4th April 1835).
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Kachur, Iryna. "Autorskie autografy na egzemplarzach starych druków XVI-XVIII w., zachowanych we Lwowskiej Narodowej Naukowej Bibliotece Ukrainy im. Wasyla Stefanyka". Z Badań nad Książką i Księgozbiorami Historycznymi 12 (24 de diciembre de 2018): 89–122. http://dx.doi.org/10.33077/uw.25448730.zbkh.2018.4.
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The author’s autographs in the early printed books from the collection of the Vasyl Stefanyk Lviv National Scientific Library of Ukraine can be grouped in two categories. The first one includes author’s signatures, their individual notes concerning the book, amendments and supplements to the text. These materials, quite rare in the books, are of particular importance for the researchers of the history of writing and printing. They can become an authoritative reference for dating, settling authorship of anonymous works, preparations of critical editions. The following authors are mentioned in the text: Mikołaj Bernett (1643-1710), Stanisław Brzeżański (ca 1650-1738), Tadeusz Juda Krusiński (1675-1757), Gottfried Lengnich (16891774), Ignacy Krasicki (1735-1801). The other category of author’s autographs, bigger and as precious as the previous one, includes hand-written author’s dedications. The annex to this text registers 67 Polish dedications from the 16-18th centuries. The following famous persons can be found among authors and recipients: Erazm of Rotterdam, Ercole Sassonia, Martinus Glicius of Pilzno, Andrzej Wolan, and Daniel Mikołajewski.
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Moklytsia, Mariia. "Rolʹ rukopysnoyi spadshchyny Lesi Ukrayinky u pidhotovtsi povnoho zibrannya yiyi tvoriv". Studia Polsko-Ukraińskie 8 (16 de abril de 2021): 11–20. http://dx.doi.org/10.31338/2451-2958spu.8.1.
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Th e article discusses the preparation of the academic edition of the complete works by Lesya Ukrainka for publication carried out by the staff of the Volyn National University named aft er Lesya Ukrainka (Lutsk, Ukraine), with the involvement of leading literary critics of Ukraine. Th e implementation of this large-scale project (a collection of 14 volumes) became possible due to the fact that the university is the owner of the electronic archive of Lesya Ukrainka. Th e manuscript heritage of the writer has become available for detailed study by a wide range of researchers, in addition to remotely. Th e article states that careful processing of manuscripts revealed many problems in studying Lesya Ukrainka’s work, in particular, ideological interference in the process of publishing and interpreting manuscripts, especially draft manuscripts. Th e comparison of rough and clean autographs proved to be especially fruitful for commenting on texts, for an in-depth, and oft en completely new understanding of classical works. Th e organizers set a goal to fully refl ect the handwritten legacy of Lesya Ukrainka in comments and notes. Unfortunately, not every work of the writer received such an in-depth discourse, because many texts are presented in the collection of fi rst editions, as neither draft nor fi nal manuscripts were found. But even the available autographs allow us to interpret the writer’s manuscript heritage as a self-suffi cient object of science, to which it is necessary to apply not only the textual and genetic method but also many other methods of modern literary criticism.
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Litovskikh, Elena. "The Comparative Analysis of Formula Elements in the Text of Landnámabók‘s Elder Editions". ISTORIYA 12, n.º 12-1 (110) (2021): 0. http://dx.doi.org/10.18254/s207987840018266-1.
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The paper compares facsimile copies of manuscript pages of the two elder versions of the medieval Icelandic historical work “Book of Settlements” (Landnámabók): AM 107 fol. for the Sturlubók version and AM 105 fol for the Hauksbók version. A technical comparison is facilitated by the fact that both these manuscripts from the Arnamagnæan Collection in Reykjavik are written in the same hand, being copies made in the mid-17th century by the renowned Icelandic scribe Jón Erlendsson from non-surviving autographs of those versions. We have determined the ratio of the formalized text (introductory characteristics of persons, genealogical lists, and topographic information) to vísur and þættir. The analysis using the proposed methodology leads to an unambiguous conclusion that both of the investigated versions of the “Book of Settlements” go back to the same exemplar.
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Bohdan, Svitlana. "About «Тілько» and not only in Lesіa Ukrainka’s language creation: in search of idiosyncrasy". Culture of the Word, n.º 93 (2020): 100–114. http://dx.doi.org/10.37919/0201-419x-2020.93.8.
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The article elucidates the regularities of the use and functioning features of the lexemes til’ko and til’ky in Lesya Ukrainka’s autographs and published epistolary and poetic texts. The study, using the comparative analysis approach, proves that both lexemes have the status of variants and are fixed in the similar semantic contexts. The actualization of the lexemes in the usus of the Ukrainian language confirms that they are polysemantic by nature and grammatically heterogeneous. The case study has revealed a clear quantitative dominance of using the variant til’ko in autographs. But the form has been repeatedly corrected, mostly in the epistolary texts. The study of the twelve-volume edition of Lesya Ukrainka’s works confirms the statement. Although we come across the use of the lexeme til’ko in the poetic texts, such facts are less frequent and reveal the general tendency of editors to replace the lexeme, arguing the need to avoid this variant, most obviously, due to classifying it as dialectal and atypical in the speech of a person who ought to serve a model of modern literary language. Epistolary texts of the nearest relatives of the Kosachs and Drahomanovs families have been also used in the case study to determine the organicity or, on the contrary, the accidental presence of the lexeme til’ko in the vocabulary of Lesya Ukrainka. It favorably authenticated the naturalness of its use. The key findings of Lesya Ukrainka’s epistolary and poetic microcontexts comparison, both author’s and edited, argue that proofreading not only changes but, in fact, destroys the authentic text, distorts the individual style, and hinders the research process. We are to restore these features in modern editions of Lesya Ukrainka’s works and offer the scholars a genuine, rather than ‘retouched’, individual style of the author.
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Kiseleva, Irina A. y Ksenia A. Potashova. "Oriental sketches by Mikhail Lermontov from the Notebook Presented by Vladimir Odoyevsky: The history of the text and semantic architectonics". Tekst. Kniga. Knigoizdanie 29 (2022): 5–23. http://dx.doi.org/10.17223/23062061/29/1.
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The aim and objectives of the study are determined by the need to reconstruct an authentic text, whose reception allows clarifying the specifics of Lermontov’s ethnographism and psychologism when creating an artistic image in the “Oriental” sketches “Correcting with a Lily Hand ...” and “On a Cloak Under the Shade of a Plane Tree ...”. The specific toolkit for analysis is the use of the primary source: its description and the compilation of a diplomatic transcription. The theoretical and methodological basis is textual, structural-semantic and cultural-historical approaches to the study of a literary text. All publications of texts are sequentially considered: from the first edition by A.A. Kraevsky in Otechestvennye zapista to the academic edition of 2014. As a result of the study, the authors have found that in all editions of the sketches there are discrepancies with autographs. In a number of cases, editorial corrections were justified, since they were associated with bringing the text to the linguistic standard, deviations from which Lermontov allowed due to the draft nature of the texts. The authors explain the swap of verses, the reasons for correcting proper names in Lermontov’s autographs; reveal incorrect publishing corrections that weaken the artistic impact of the text and belittle the skill of Lermontov as a psychologist and his ethnographic awareness; outline the role of exotic Oriental vocabulary and its changes: to recreate the Oriental color as conditioned by socio-cultural and psychological aspects. The authors propose a reasoned reconstruction of the authentic text of the sketches, which are presented as a single concept. The authors prove that the sketches are characterized by stylistic unity and are in line with Lermontov’s “Oriental” text as a whole. Their structural and conceptual study confirms that Lermontov’s works of 1841 are characterized by a synthesis of romantic and realistic principles of depiction with the priority of the realistic method. The authors draw conclusions about the aesthetic principles of Lermontov’s depiction of an “Oriental” person - about the peculiarities of characters’ individualization and typology, and determine ways of explicating the Oriental flavor. The authors show that Lermontov’s ethnographic observations concentrate on the “Oriental” topos and are characterized by accuracy, deep immersion in Caucasian ethnopsychology. The systematic analysis and the results of the reconstruction of the sketches “Correcting with a Lily Hand ...” and “On a Cloak Under the Shade of a Plane Tree ...” give grounds to speak about their importance for drawing up an integral idea of Lermontov’s creative process, including due to the small number of his draft autographs. The authors declare no conflicts of interests.
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Popelnytska, Olena. "Books from library of Khv. Vovk with autographs, expliers and gifting inscriptions in the collection of books of the National Museum of the History of Ukraine". Вісник Книжкової палати, n.º 9 (24 de septiembre de 2020): 32–38. http://dx.doi.org/10.36273/2076-9555.2020.9(290).32-38.
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The library of the National Museum of the History of Ukraine (NMHU) contains printed editions originating from the book collection of Khvedir (Teodor) Vovk (Volkov). The affiliation of these editions to the said book collection is evidenced by the presence of proprietary autographs, gift inscriptions, bookplates and stamps of Khvedir Vovk's library. Analyzing the range of books allows you to find out the range of scientific contacts and interests of the library owner. Оwn library Khvedir Vovk began collecting in Paris, where he lived and worked in 1887—1905. In 1905 he moved his book collection to St. Petersburg. Аccording to the testament, the Khvedir Vovk's library in 1920 entered to the Ukrainian Academy of Sciences. In 1921 on the basis of this book collection at the Museum of Anthropology and Ethnology named after Khvedir Vovk was founded the Library. It is probable, that the first books from the Khvedir Vovk's library in 1934 entered to the book collection of the Central Historical Museum of Ukraine (predecessor of NMHU), after the disbandment of the Cabinet (former Museum) of Anthropology and Ethnology named after Khvedir Vovk. The modern book collection of the NMHU contains French-language and Russian-language books, representing the products of the printing houses of Amsterdam, Paris, Lyon and St. Petersburg of 1725—1821. These are quite rare publications on the history of Ukraine, in particular the Cossacks, and the ethnography of the peoples of the world. They marked with bookplates and proprietary autographs of Khvedir Vovk or prints of the stamp of the Library of the Museum of Anthropology and Ethnology named after Khvedir Vovk. The range of these antique books determines certain aspects of scientific interests of Khvedir Vovk. Books with gift inscriptions to Khvedir Vovk determine the range of scientific and private contacts of Khvedir Vovk with colleagues and friends, in particular representatives of the St. Petersburg's Ukrainian diaspora.
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Vasic, Aleksandar. "Archives of the SASA Institute of Musicology: Collection of documents, autographs, copies, old editions of music printing and photographs". Muzikologija, n.º 10 (2010): 71–100. http://dx.doi.org/10.2298/muz1010071v.
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Institute of Musicology of the Serbian Academy of Sciences and Arts in Belgrade possesses a comprehensive collection of manuscripts, copies and rare editions of Serbian music. The collection also contains textual documents, photographs and objects important for the national musical history. This study presents a history, review of the content and structure of the Institute?s Archive. Attention is focused on the most important documents in the Collection, also on the structure of users. Finally, author speaks about the actual problems in the Institute?s Archive.
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Cláudia Suriani da Silva, Ana, Elton Uliana y Raffaella Andréa Fernandez. "DEMYSTIFYING THE STIGMA IN THE WRITINGS OF CAROLINA MARIA DE JESUS". Revista Linguagem & Ensino 25, n.º 1 (26 de septiembre de 2022): 9–29. http://dx.doi.org/10.15210/rle.v25i1.22209.
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This article discusses the process of translating Carolina Maria de Jesus’s autobiographical narrative “Favela”, published in Onde estaes felicidade? in 2014, a translation project carried out as an experiment within the SELCS Brazilian Translation Club workshops in October 2021 at University College London. The study identifies points of convergence within the translation, and divergences from expected English cultural and linguistic norms, as well as detailed analyses of several strategies for dealing with problems and concepts such as equivalence, foreignisation, acculturation, and untranslatability. The reflection on translation procedures was guided by the principle of “negative revision”, taking into account the most recent research on the teaching and the practice of literary translation, and paying particular attention to Carolina Maria de Jesus’ autographs, which in themselves dispel several racial, social and cultural stigmas conveyed by the first editions and translations of the author’s work.
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Rudakova, Y. K. y A. V. Bondarchuk. "BOOKS FROM THE SERGE LIFAR’S COLLECTION IN THE FUND OF THE VERNADSKY NATIONAL LIBRARY OF UKRAINE". Library Mercury, n.º 2(26) (24 de diciembre de 2021): 79–90. http://dx.doi.org/10.18524/2707-3335.2021.2(26).245122.
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The publication presents information about rarities from the collection of prominent Ukrainian and French artist, collector and bibliophile Serge Lifar (1905–1986) in the fund of the Department of early printed and rare books of the Vernadsky National Library of Ukraine (VNLU). Dancer, choreographer, artist S. Lifar has been collecting personal documents, posters, cultural objects, books, various souvenirs, etc. for decades. He wanted to donate items from his personal collection as a gift to his hometown of Kyiv. In the 1990s and 2000s, parts of his collections and personal belongings were transferred to several Kyiv institutions. Rarities from his book collection came to the VNLU as part of the collection of Baron Eduard Falz-Fein, who bought part of his library at auction in Monte Carlo and donated it to the VNLU in 1981. S. Lifar’s books in the collection of E. Falz-Fein are singled out with the help of his proprietary marks: signets, paper stickers, autographs, gift inscriptions, etc. They date from the 17th – early 20th c. Among them predominate Russian-language editions of the 18th‑19th c. Widely represented editions of works by Russian and Ukrainian writers: O. Pushkin, V. Zhukovsky, A. Fet, M. Lermontov, I. Krylov, G. Derzhavin, M. Gogol, P. Kulish, and others. S. Lifar also collected various artistic lithographic albums, large-format editions with portraits, drawings, maps, etc. Essays on Russian imperial history, geography, descriptions of places, and collections of decrees are also contained in the collection. The church theme is represented by several copies of old prints in different languages and fonts. Cyrillic liturgical editions are also available in the collection. Several editions of the Bible in Old Slavonic and Dutch occupy a proper place in the collection. The publication presents the features of individual copies of the collection. It is concluded that the book collection of S. Lifar is able to inform the inquisitive reader about new facets of the personality of its former owner. Scattered across various institutions and even countries, it is still waiting for its researchers. The information is supplemented by a list with a brief descriptions and current shelf numbers.
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Vishnevskaya, E. E. "The Creative Legacy of Ivan Sergeevich Shmelev: the Writer's Archive in the Russian State Library". Язык и текст 9, n.º 3 (2022): 39–55. http://dx.doi.org/10.17759/langt.2022090305.
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The article is devoted to the history of the formation of the personal archive of the famous Russian writer Ivan Sergeyevich Shmelev (1873-1950), stored in the Department of Manuscripts of the Russian State Library (RSL). The composition of the fund is disclosed, its most important sections are listed. Through the main events of I.S. Shmelev's life, his creative path is shown, works written in the period 1894 — early 1920s, i.e. the time of I.S. Shmelev's life in Russia before emigration, draft autographs stored in the archive in several editions are presented. The sections of the fund, including articles, notebooks, sketches and excerpts of unidentified works, were analyzed, the correspondence of the writer, the materials of S.I. Shmelev, his son, as well as various materials of the 1925-1940s, documents related to the memory of the writer were studied. Individual materials of I.S. Shmelev, stored in other funds of the RSL, are reflected.
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McDonald, Matthew. "Jeux de Nombres: Automated Rhythm in The Rite of Spring". Journal of the American Musicological Society 63, n.º 3 (2010): 499–551. http://dx.doi.org/10.1525/jams.2010.63.3.499.
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Abstract The novel rhythms of The Rite of Spring, according to Theodor Adorno, seem to have arisen from “the throw of the dice.” Many scholars have argued otherwise, characterizing Stravinsky's rhythms as logically patterned and deliberately crafted. This essay, however, suggests that Stravinsky did in fact employ a fundamentally mechanical, “automated” procedure for generating his irregular rhythms and metrical schemes. Specifically, Stravinsky seems to have converted intervallic series, derived from prominent chords or melodies, into durational ones, equating intervals measured in semitones with durations measured in beats—a relationship that is best perceived intellectually, not aurally. This claim is supported by a wealth of evidence drawn from the sketches, autographs, and earliest printed editions of the score, and it applies to the opening of virtually every titled section of The Rite, where much of its best-known music resides. Close analysis of these sources, considered in conjunction with the copious symbolic and numerical notations in the margins of Stravinsky's sketchbook, Stravinsky's programmatic commentary on The Rite and his idiosyncratic ideas about intervals, and the critical commentary of Adorno and others, sheds new light on Stravinsky's conception of The Rite and its symbolic meanings.
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Kovalenko, Borys. "LOCALITY AND SUPRALOCALITY IN INDIVIDUAL STYLE (BASED ON THE MANUSCRIPT HERITAGE OF PODILLIAN WRITERS)". Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, n.º 32 (2022): 28–35. http://dx.doi.org/10.17721/1728-2659.2022.32.06.
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The results of the analysis of the manuscript heritage of Podillian writers: S. Rudanskyi, A. Svydnytskyi, M. Kotsiubynskyi are presented. Lingual features that feature the individual style of each of these authors are described. The topicality is due to the need to study the language practice of these authors as representatives of Ukrainian literature of the XIX century in the context of their connection with Podillia, to trace the ways of forming and developing of literary norms, the influence on the language of writers of the native Podillia dialect of the south-western dialect, which brings closer to solving to solving a broad problem of dialectal-literary interaction. The methodological basis of the article is attention to autographs and first editions, which turned out to be justified and effective in the study, since the texts of the works of these authors published later experienced editorial intervention and most of the features marking their individual style were leveled. Archival materials were used, in particular autographs stored in the Manuscripts Department of Taras Shevchenko Institute of Literature of National Academy of Sciences of Ukraine (Kyiv), at the Manuscript Institute of the National Library of Ukraine named after VI Vernadsky of National Academy of Sciences of Ukraine (Kyiv), in Chernihiv State Literary-Memorial Museum of Mikhailo Kotsyubinsky (Chernihiv) and others. This is an attempt to determine the role of the linguistic and cultural region (area) in the development of the national literary standard; to study the problems of formation of the Ukrainian literary language in the sequence personality – collective / region, taking into account the principle of duality individual – collective. Observation of the linguistic creativity of Podillian writers reveals duality, first of all. On the one hand, there is a close connection with the linguistic environment from which these linguistic personalities grew up and where they were formed, on the other hand, there is a clear desire for supra-locality. We state the presence of many individual features in their individual style, each of them is a separately formed linguistic figure, but most of the features we have recorded were common to all authors and common in Podillia dialects. And checking the collections of texts, the observed dialectal substance, the comparison with the Atlas of the Ukrainian language, and other dialectal descriptions gives grounds to claim that many of them are still existing today.
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Sánchez Laílla, Luis. "El Héroe de Baltasar Gracián: transcripción del autógrafo". (an)ecdótica 6, n.º 2 (30 de junio de 2022): 103–34. http://dx.doi.org/10.19130/iifl.anec.2022.6.2.651x0024.
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Following the previous approaches to the autograph manuscript of Baltasar Gracián’s El Héroe by Adolphe Coster, Miguel Romera-Navarro and Aurora Egido, this paper presents the first non facsimile edition of that document, based on the theoretical and methodological principles of the filologia d’autore. The autograph is a complexe pre-text of a work in progress which contains an integral and very close to the edition of Huesca (1637) redactional state, and, as such, it deserves particular consideration. The edition offers a complete and normalized transcription of the last version contained in the autograph, where there are plenty of corrections and variants. The editor has slightly intervened, solving errors, adding some elements and filling gaps with the aid of the published text. Through this task, it is opened the way to a definitive rescue of El Héroe, which attends a historical and critical edition and a hipertextual edition as well, in which the transcription of the autograph will get a whole meaning. The historical and critical edition of the treatise will present the evolution of the text through the collation of the autograph in its final state and the editions of 1637 and 1639. The observation of the document as complete and coherent text will be also useful for supporting the hypothesis that it was very close to the original presented to the printers.
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Yakubоva, Tetyana. "Research of the contribution of scientists involved in the formation of the funds of the Kyiv Theological Academy". Вісник Книжкової палати, n.º 9 (24 de septiembre de 2020): 38–44. http://dx.doi.org/10.36273/2076-9555.2020.9(290).38-44.
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In the Department of Library Collections and Historical Collections of the Institute of Bibliology of the Vernadsky National Library of Ukraine, the library fund of the Kyiv Theological Academy is preserved. It is indicated that scientists of Ukraine and Russia were involved in the formation of the library fund of the Kyiv Theological Academy. The author of the article will follow results of L. Denisko, N. Ship, N. Mozgovoi, S. Sokhan, which presents some materials about the scientific and library activities of the professors of the Kyiv Theological Academy and noted their role in the spiritual education of Ukraine. The article provides information on the historiography of the history of the library of the Kyiv Theological Academy, which was written in the XIX—XXI centuries. On the basis of manuscript sources of the Archive of the Kyiv Theological Academy, which are stored in the Institute of Manuscripts of the Vernadsky National Library of Ukraine, in the article is represented little-known facts of the scientific and library activities of N. Petrova, I. Skvortsova and A. Grannikov, professors of the Kyiv Theological Academy. Materials for attribution of autographs are presented. The author proves that scientists from Kyiv, St. Petersburg and Kazan universities were involved in the creation of the funds of the library of the Kyiv Theological Academy. It is noted that thanks to the active participation of these scientists in the process of forming the library funds of the library of the Kyiv Theological Academy, this academic library, in terms of its composition and content, has become a unique and universal book collection of editions of the 15th — early 20th centuries.
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Shakherov, Vadim. "Merchant Libraries in the Cultural Heritage of Irkutsk". Journal of Economic History and History of Economics 22, n.º 3 (26 de agosto de 2021): 518–28. http://dx.doi.org/10.17150/2308-2488.2021.22(3).518-528.
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The article considers the role of merchant libraries in the history of the city. The reviewed books open a new publishing series of the scientific library of Irkutsk University, dedicated to merchant libraries of Irkutsk. Its publications provide an opportunity to get familiar with the old book collections of Irkutsk residents, know more about the interest in books and reading in our city as well as the history of private libraries. The first book in the series, published in 2019, was dedicated to the book collection of the largest Irkutsk merchant, the philanthropist and bibliophile V.N. Basnin, whose estate was one of the largest cultural salons in Irkutsk in the first half of the 19th century. The book under review contains the most complete catalog of Basnin’s library, which he had been collecting for more than 40 years. It should be noted that he was not only a reader, but also quite a professional bibliographer, ordered by mail novelty books, making their systematization and description. The second book in the series is dedicated to other merchant libraries. Its compilers have done a lot of research work to find these publications, systematize them and identify their owners. The catalog presented by the Irkutsk State University library most fully reflects the merchants’ interest in printed publications. It includes 969 book titles, reflecting 1 194 editions with exlibrises, autographs and notes of their owners. Despite the purely bibliographic nature of the peer-reviewed publications, which are considered in the research, they are of interest to different groups of people. The author notes the importance of the books not only to library workers, but also to all the readers who are not indifferent to the history of cultural life in Irkutsk, as well as to the role of books and home libraries in personality development and formation of human abilities.
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Mitchell, Domhnall. "The Grammar of Ornament: Emily Dickinson's Manuscripts and Their Meanings". Nineteenth-Century Literature 55, n.º 4 (1 de marzo de 2001): 479–514. http://dx.doi.org/10.1525/ncl.2001.55.4.479.
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Debates about editorial properties have been at the center of scholarship on Emily Dickinson since the 1981 publication of Ralph W. Franklin's two-volume The Manuscript Books of Emily Dickinson. Many critics now work from the assumption that autograph poems have primacy over their printed versions, and it has been suggested that to read Dickinson in any standard typographical edition is effectively to read her in translation, at one remove from her actual practices. More specifically, critics have claimed that the line arrangements, shapes of words and letters, and particular angle of dashes in the autographs are all potentially integral to a poem's meaning, making a graphic contribution to its contents. In this essay I set out to test the hypothesis of Dickenson's proleptic textual radicalism, by looking closely at features such as spacing, the physical direction of the writing, and letter shapes in handwritten lyric and epistolary texts. By systematic contextualization and cross-referencing, I hope to provide the historical scholar of manuscripts with a set of procedures - a critical apparatus - by which to measure the extent to which contemporary critical approaches to Dickinson's autograph procedures can reasonably be formulated as corresponding to the poet's own purposes.
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Callewaert, Winand M. "Indian manuscripts without autograph? A computer analysis". Indo-Iranian Journal 30, n.º 3 (1987): 177–83. http://dx.doi.org/10.1163/000000087790082667.
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AbstractThe computer count establishes that, in the case of Nāmdev's poems, there is no consistent relation between two manuscripts of the same ‘recension’. We noticed also that, when looking at variants from different angles, no consistent relation even between manuscripts is seen throughout. This suggests a very nebulous interaction between singing traditions and the fact that we should not look for a ‘critical line’ of Nāmdev or try to prepare an edition of the original version of Nāmdev's poetry. This hypothesis is a challenge to existing ‘critical editions’ of Early Hindi Poetry, in which generally the ‘original’ version is reconstructed after constructing a stemma based on (scribal) variants. If there is no stemma and no justified ‘critical’ line, then what do we have? We have the conviction that, possibly for centuries, a Nāmdev enthusiasm was enchanting people in Rajasthan and Punjab (North-West India), linked vaguely to Nāmdev's hymns of the 14th century.
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Hulle, Dirk Van. "Sheherazade's Notebook: Editing Textual Dysteleology and Autographic Modernism". Modernist Cultures 15, n.º 1 (febrero de 2020): 12–28. http://dx.doi.org/10.3366/mod.2020.0277.
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Critical editions of ‘Complete Works’ are typically organized in a teleological manner, using each of the author's published works as an endpoint. In addition to this useful tradition, this article suggests a ‘dysteleological’ approach. The term ‘dysteleology’, indicating that evolution has no inherent goal, was coined in the years leading up to Modernism. The existence of vestigial organs served as an example to corroborate the ‘dysteleological’ view. A writer's unused notes may be regarded as similarly ‘vestigial’. They are purposeless from a teleological point of view, but they are crucial elements in the study of creative writing processes (‘genetic criticism’). These elements have their rightful place in a scholarly edition, and it is therefore necessary to complement a teleological editorial tradition with a ‘dysteleological’ approach. To corroborate this argument, the article examines works by James Joyce and Samuel Beckett, as well as by less canonical authors such as Raymond Brulez.
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Knapp, Éva. "Palingenius Zodiacus vitae-je a magyarországi Album Amicorumokban". Antikvitás & Reneszánsz, n.º 2 (1 de enero de 2018): 115–36. http://dx.doi.org/10.14232/antikren.2018.2.115-136.
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The reception history of the Zodiacus vitae is an independent research topic long ago outside Hungary, researchers have been analyzing the various levels and forms of reception for decades. However, the peculiarities of the Palingenius-reception in Hungary have not been systematically studied. Although full edition of the entire Zodiacus vitae printed in Hungary is not known, several copies of different printed editions arrived to Hungary. The popularity of this epic philosophical poem is indicated by several entries in the autograph albums of peregrine students. These Hungarianrelated entries mostly accurately quote the details of the work in gnomes. The conscious, customized combination and re-functioning of quotations follows the international practice of the era.
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Krasnoborod’ko, Tatiana Ivanovna y Svetlana Bogdanovna Fedotova. "BODINO MANUSCRIPTS 1830: DETAILED DESCRIPTION". Vremennik Pushkinskoi Komissii 35 (2021): 5–197. http://dx.doi.org/10.31860/0236-2481-2021-35-5-197.
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This scientifi c description of Pushkin’s autographs from the autumn of 1830 is an expanded and refi ned version of the description that accompanied the facsimile edition of ‘A. S. Pushkin. Boldino manuscripts of 1830’ in 3 volumes (St.-Petersburg, 2009, 2013). The new description includes 98 autographs of the poet while the previous one included 97 autographs. The description of most of the autographs is supplemented with comments justifying the dates proposed by the authors and provides some additional information about the paper grades that Pushkin used in the autumn months of 1830. In addition, according to archival sources, the history of the existence of several large collections of Pushkin’s autographs has been clarifi ed (L. N. Maikov’s, I. A. Shliap kin’s, Grand Prince Konstantin Konstantinovich).
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Sorić, Diana y Teuta Serreqi Jurić. "The Textual Transmission of Iter Buda Hadrianopolim, a Travelogue by Antun Vrančić". Povijesni prilozi 40, n.º 61 (2021): 397–427. http://dx.doi.org/10.22586/pp.v40i61.15431.
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Croatian humanist, diplomat, and prelate Antun Vrančić (1504-1573) produced a number of literary works, among which the travelogue Iter Buda Hadrianopolim holds a special place, since it was written as a testimony of Vrančić’s first mission to Constantinople (1553-1557), on which he was sent by order of Emperor Ferdinand I (1503-1564). The text is preserved in the form of Vrančić’s autograph and three transcripts as part of the geographical and historical work De Illyrico Caesaribusque Illyricis by Croatian humanist Ivan Tomko Mrnavić (1580-1637), and was published twice, in the 18th and 19th centuries. This paper provides an insight into the textual transmission of the Iter Buda Hadrianopolim based on the findings the authors arrived at while preparing a critical edition of this text by Vrančić. A philological comparison of Vrančić’s manuscript and the preserved transcripts provides an answer to the question which copy is closest to Vrančić’s original, while a comparison of the manuscript and editions indicates that the existing editions are unreliable for linguistic, stylistic, or historiographical research due to errors which hinder the correct reading of the text. This, along with the fact that no critical edition of the text exists, is why a new philological treatment of this text by Vrančić according to the principles of modern neo-Latin studies was necessary.
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Ouwerkerk, Aron. "The Latin Poems of Margareta van Godewijck (1627-1677)". Humanistica Lovaniensia 70, n.º 2 (18 de febrero de 2022): 229–303. http://dx.doi.org/10.30986/2021.229.
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This contribution presents the editio princeps of all extant Latin poems written by the Dutch poet Margareta van Godewijck from Dordrecht. In order to increase the accessibility of these hitherto unpublished texts, the edition is preceded by an extensive preparatory analysis of previous biographical sources and accounts of how her poems were received. These will illustrate the need for the present study. There follow an evaluation of her Latin poems with regard to both form and content and a discussion of her Latinity, textual interaction with other Neo-Latin poets, and the literary merits of her work. It is argued that her Latin poetry had a clear social and performative function and can best be considered within the context of student composition. Finally, an account of the trajectories of the two surviving autographs and an explanation of the editorial principles prepare the reader for the critical edition.
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Reshetnikova, M. V. "I.G. Tyulin Scientific Library". MGIMO Review of International Relations, n.º 5(38) (28 de octubre de 2014): 273–77. http://dx.doi.org/10.24833/2071-8160-2014-5-38-273-277.
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Scientific Library MGIMO opened to readers in 1944 became the basis for her book fund of the Faculty of International Relations, Moscow State University on the basis of which was created by an independent institution - Institute of International Relations (MGIMO in the future). In 1954, when the composition of the MGIMO was included from the Moscow Institute of Oriental Studies, the merger of the two libraries. This has considerably enriched the book collection, as the Institute of Oriental led his chronicle of the Lazarev School of Oriental Languages, founded in 1815 and features a wonderful book collection. In 1958, the merger with the Institute of Moscow State Institute of Foreign Trade funds replenished special economic literature. Thus was formed the basis of the library's collection of MGIMO, which develops in accordance with the curriculum and subjects research university. Pride Library -176 manuscripts and more than 21 thousands of rare and valuable editions of XIII -the beginning of XX century. Among them - the first and the lifetime editions of works by prominent scholars, writers and public figures (N.M. Karamzin, V.O. Kliuchevskoi, N. Kostomarov S.M. Solovyev, J. Bodin, Hobbes, A.F. Koni, Martens et al.), autographed books, N.M. Przewalski, A.N. Kuropatkin, A.E. Crimean and other famous people. The collection of rare books and manuscripts research library also includes: - life time edition of the French writer and politician Jean Bodin "Six Books of the Republic" (1577); - the second edition of the famous treatise of the English philosopher and writer Thomas Hobbes "On Citizenship" (1647); - english (1669) and german (1696) edition of the book Adam Oleary "Descriptions Travel to Muscovy and Persia through Muscovy and back".
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Ricotta, Veronica. "Aggiornamenti sulla lingua dei Banchetti di Cristoforo Messi Sbugo". Zeitschrift für romanische Philologie 138, n.º 4 (1 de diciembre de 2022): 1081–96. http://dx.doi.org/10.1515/zrp-2022-0055.
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Abstract The paper proposes some linguistic updates on Cristoforo Messi Sbugo’s Banchetti in light of the preparation of a new critical edition of the text, focusing on autographs and latest findings in the study of the language of food.
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Umurzoqov, Bahriddin S. "COMPARATIVE AND TEXTOLOGICAL STUDY OF THE SCIENTIFIC-CRITICAL TEXT OF THE WORK WITH THE AUTOGRAPH “RASHAHOT” (TEHRAN EDITION, 1977)". American Journal Of Social Sciences And Humanity Research 02, n.º 07 (1 de julio de 2022): 5–21. http://dx.doi.org/10.37547/ajsshr/volume02issue07-02.
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This article is dedicated to the study of the text of the work “Rashahot ain al-hayat” (Drops from the Fountain of Life) written by Fakhruddin Ali Safi Koshifi Hiravi (d. 939/1532-1533). In the article, the oldest copies of this work are kept in Tashkent manuscript funds - State Literary Museum named after Alisher Navoi of the Academy of Sciences of the Republic of Uzbekistan “Rashahot”.manuscript. №33/II, Institute of Oriental Studies named after Abu Rayhan Beruni of the Academy of Sciences of the Republic of Uzbekistan “Rashahot”. manuscript №10147, Institute of Oriental Studies named after Abu Rayhan Beruni of the Academy of Sciences of the Republic of Uzbekistan, Institute of Oriental Studies named after Abu Rayhan Beruni of the Academy of Sciences of the Republic of Uzbekistan, “Rashahot”. Institute of Oriental Studies named after Abu Rayhan Beruni of the Academy of Sciences of the Republic of Uzbekistan manuscript.№5418 ҳамда “Rashahot”. National Manuscripts Department of Tehran Library Council #8201 (26458) inv. digital) features of manuscripts are discussed. The article also includes the texts of these ancient manuscript copies of “Rashahot” and the Tehran edition of the work (“Rashahot”. Scientific and critical text. Tehran, 1977. Prepared for publication - AA. Mu’iyniyan.) text is compared with each other and the State Literary Museum “Rashahot” named after Alisher Navoi of the Academy of Sciences of the Republic of Uzbekistan. manuscript. It is firmly concluded that the text of copy #33/II is the perfect, most reliable text of the work "Rashahot ain al-hayat" (Drops from the Fountain of Life).
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Deak, Vera Lampert, Bela Bartok, Laszlo Somfai y Nelson Dellamaggiore. "Viola Concerto: Facsimile Edition of the Autograph Draft". Notes 53, n.º 3 (marzo de 1997): 988. http://dx.doi.org/10.2307/899759.
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Eisen, Cliff, Wolfgang Amadeus Mozart y Gabriel Banat. "The Mozart Violin Concerti: A Facsimile Edition of the Autographs". Notes 45, n.º 3 (marzo de 1989): 612. http://dx.doi.org/10.2307/940822.
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Reinhardt, Henning. "Das Itinerar des Wolfgang Musculus (1536)". Archiv für Reformationsgeschichte - Archive for Reformation History 97, n.º 1 (1 de diciembre de 2006): 28–82. http://dx.doi.org/10.14315/arg-2006-0103.
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ABSTRACTThis is an edition of the itinerary which the Augsburg preacher Wolfgang Musculus (1497-1563) wrote during his trip to the Wittenberg Concord meeting in May of 1536. The introduction to the edition puts the itinerary into the context of Musculus’ biography (1), describes the autograph of the source (2), analyses the connections between Musculus’ itinerary and another report of the meeting in the Acta Wittenbergica| (3), offers a critique of the nineteenth-century edition of the itinerary by Theodor Kolde (4), introduces three other sources which, in addition to the itinerary, help to reconstruct the Wittenberg Concord meeting (5), and finally, explains the relevance of the new edition to Reformation history (6).
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Rapinčuka, Jeļena. "VIRTUAL GALLERY AS A BASIS FOR THE STUDY OF THE LIFE AND WORK OF BELARUSIAN WRITERS". Via Latgalica, n.º 6 (31 de diciembre de 2014): 222. http://dx.doi.org/10.17770/latg2014.6.1661.
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The legacy of poets and writers of Belarus and Grodno region in particular is undoubtedly rich and diverse. It is well known, that national values begin with the local, regional ones, so that national culture consists of original, distinctive features of regional life. Due to the fact, that on the website of the project LLB-2-269 “Virtual Past is a Keystone for the Future of Museums” the descriptions of museum exhibits were created, we can virtually get acquainted with the artistic and historical heritage of famous personalities, who have left a noticeable imprint on the culture of Belarus and abroad. In a virtual gallery “Literary Grodno region” (http://futureofmuseums.eu/be/ virtual-gallery/maxim-bahdanovich-harodna-museum-collections) virtual visitors have an opportunity to appreciate autographs, documents, books, periodicals, postcards, photographs, household items and home furnishings of the late 19th – early 20th centuries, personal belongings of scientists and writers of Grodno region or of those people, whose lives have been directly related to Prinemanskij region, to Belarus. The descriptions of museum exhibits, which we are presenting, are divided into four subcategories: audiovisual sources, written sources, material monuments and pictorial sources. A significant part of these exhibits has found its place in the “Written sources” subcategory. The descriptions of the original editions of the late 19th – early 20th centuries: works of A. Mickiewicz, E. Ozheshko, V. Syrokomlya, F. Bogushevich, Tetka (A. Pashkevich), Ya. Kupala, Ya. Kolos, M. Bogdanovich, K. Buylo, Ya. Luchina, M. Goretskiy, B. Tarashkevich are of great interest here. Occasional periodicals of the early 20th century are presented by “Nasha Dolya” and “Nasha Niva” newspapers, “Zhizn Belorusa”, “Zhenskoye Delo”, “Krivich” magazines,publications of the first Belarusian calendars etc.The original manuscripts and typescripts of works and letters of such Grodno writers as Z. Veras (L. A. Sivitskaya-Voytik), L. Geniyush, M. Vasilyok, A. Karpyuk, V. Bykov, D. Bichel-Zagnetova, L. Yalovchik are valuable exhibits also. Home furnishings and household items of the late 19th – early 20th centuries are presented in the “Material monuments” subcategory. These are a tea table, a buffet, floor clocks, a bookcase, a chest of drawers, chairs, porcelain crockery and silverware. Writing utensils, caskets, napkins, tablecloths, garments and accessories and other personal items, that belonged to prominent personalities of Grodno, are also shown here. Subcategory “Audiovisual sources” is presented by original photographs of writers and scholars, their relatives and friends, postcards with images of known sceneries and architectural monuments. Among the “Pictorial sources” one can find paintings, icons, portraits, busts, bas-reliefs. In order to understand the style and skill of the definite writer it is not enough only to read his works, it is also extremely important to know the features of that time, which he lived in, his circle of acquaintances that had a direct influence on his creative personality, topics and problems of his works, his position and views. Thus, the virtual gallery “Literary Grodno region”of the project LLB-2-269 “Virtual Past is a Keystone for the Future of Museums” is designed for pupils, students, teachers, researchers and anyone interested in the culture and literature of Belarus. Virtual Gallery is the initial stage, the basis for the study of the huge heritage of outstanding Belarusian writers.
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ADAMS, D. J. "Review. Diderot: Autographes, copies, editions. Didier, Beatrice et Neefs, Jacques (eds)". French Studies 43, n.º 3 (1 de julio de 1989): 328. http://dx.doi.org/10.1093/fs/43.3.328-a.
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Levashev, Ye M. y N. I. Teterina. "M.P. Mussorgsky. St. John’s Eve on Bald Mountain: Texts and Contexts. Article One". Art & Culture Studies, n.º 2 (junio de 2021): 166–97. http://dx.doi.org/10.51678/2226-0072-2021-2-166-197.
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This article is devoted to the most stylistically original and artistically significant orchestral work by M.P. Mussorgsky, St. John’s Eve on Bald Mountain. The subject matters of the article are an examination of the background and history of this artwork’s creation, review of its creative sources, attribution of an autograph, and textological characterization of marginal marks in the score, while the goal is to form a new perspective of the research based on the deciphering of many intricate, complex and even mysterious circumstances associated with this orchestral opus. Particular attention is paid to the appearance of two author’s editions of the artwork; moreover the second of them arose as a result of harsh criticism of M.A. Balakirev, who insisted on a radical adaptation of the score. The autograph of the second author’s version has been preserved, while the first author’s version can only be reconstructed hypothetically.
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Stępień, Marek y Olga Drewnowska. "Three administrative texts from the time of the 3rd Dynasty of Ur, in anonymous collection in Poland". Klio - Czasopismo Poświęcone Dziejom Polski i Powszechnym 60, n.º 4 (5 de julio de 2021): 3–21. http://dx.doi.org/10.12775/klio.2021.034.
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The article is a full edition (photography, autography, transliteration, translation and commentary) of three previously unpublished Neo-Sumerian administrative documents, which are in one of the anonymous collections in Poland. The tablets come from the two provincial archives of the kingdom of Third Dynasty of Ur - Puzriš-Dagan and Girsu-Lagaš, and their content is typical of this group of cuneiform texts.
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Fedotova, S. B. "SOME TEXTUAL OBSERVATIONS ON THE MANUSCRIPTS OF “THE HISTORY OF THE VILLAGE OF GORYUKHINO”". Vremennik Pushkinskoi Komissii 34 (2020): 101–10. http://dx.doi.org/10.31860/0236-2481-2020-34-101-110.
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This article explores how Pushkin worked on “The History of the Village of Goryukhino” («История села Горюхина») during the Boldino Autumn of 1830. The order of creation of the autographs that survived (the plan, the introduction sketch, the main text, and the manuscript cover) remained an unsolved question in Pushkin studies until now. Since the publication of the facsimile edition of Pushkin’s Boldino manuscripts, it has become possible to clarify his process of working on “The History of the Village of Goryukhino” («История села Горюхина»).
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Bronkhorst, Johannes. "Correcting the Text of the Sarvadarśanasaṃgraha". Journal of Indian Philosophy 48, n.º 5 (7 de octubre de 2020): 945–61. http://dx.doi.org/10.1007/s10781-020-09448-9.
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AbstractAttempts have been made to correct the text of the Sarvadarśanasaṃgraha on the basis of the texts that its author used—and sometimes refers to by name—while composing his work. This procedure is promising in texts like the Sarvadarśanasaṃgraha, which makes abundant use of other works, and might in principle give results that are independent of, and prior to, the detailed study of its manuscripts. A closer investigation shows that this procedure is not without risks, and may occasionally give rise to unjustified “corrections”. The article shows that quotations in the Sarvadarśanasaṃgraha deviate from their source-texts in numerous cases. It further illustrates that the archetype underlying the manuscripts used for the available editions on occasion demonstrably differs from what must have been the text’s autograph. Other cases demonstrate that already the autograph sometimes deviated from its source-texts. The article concludes that careless “correcting” of the text may have serious consequences and can stand in the way of its correct interpretation.
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Subacius, Paulius V. "On the Importance of One Character: Some Afterthoughts on The Forest of Anykšcˇiai". Textual Cultures 8, n.º 2 (9 de febrero de 2015): 142–55. http://dx.doi.org/10.14434/tc.v8i2.13279.
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The latest edition of Anykšcˇi˛u šilelis (The Forest of Anykšcˇiai) by famous Lithuanian poet Antanas Baranauskas renewed the old debate how understood the last word in the second line of the poem. The textual analysis of first three publications with the poet’s autographs and early copies does not provide any possibility to accept the conjecture suggested by one of editors in the early 1960s. This case is analyzed in the broader Lithuanian related and international context of links of alternative readings with strands of a literary interpretation.
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Morozov, S. N. "I. A. Bunin’s Story "The Cicadas": History of the Text". Russkaya literatura 3 (2020): 129–41. http://dx.doi.org/10.31860/0131-6095-2020-3-129-141.
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The paper investigates the history of the text of I. A. Bunin’s story "The Cicadas" (later called "The Night"), with all the surviving autographs, publications of this text, as well as the author’s later period notes on the printed copies of the story taken into account. All stages of the author’s work on the story are studied (cuts, editing, additions, etc.). The most illustrative examples of discrepancies in different sources of the text are presented.
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Hawkshaw, Paul. "A Bequest and a Legacy: Editing Anton Bruckner’s Music in ‘Later Times’". Nineteenth-Century Music Review 15, n.º 3 (26 de junio de 2018): 405–19. http://dx.doi.org/10.1017/s1479409818000307.
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The present study has been prepared on the occasion of the publication of theNew Anton Bruckner Collected Works Edition’s first volume, Thomas Röder’s score of the Linz version of the First Symphony. The article re-evaluates a fundamental precept of the oldGesamtausgabeof Robert Haas and Leopold Nowak – the supremacy of the readings in Bruckner’s autograph manuscripts over those in his first prints. It begins with a brief history of the “Bruckner-Streit” of the 1930s and 40s and a summary of more recent challenges to the Haas-Nowak policy. An overview of the composer’s relationship with the brothers Franz and Josef Schalk, who were responsible for the production of many of his early editions, demonstrates that they worked closely with him at first, but began to make alterations without consulting him towards the end of the 1880s. Distinguishing Bruckner from his editors in the Third, Fourth and Eighth Symphonies is difficult, if not impossible. From an editorial perspective, it is pointless because, in these scores, the composer accepted their suggestions and made them his own. Later publications are a different matter. The discussion leads inevitably to a re-examination of a clause in Bruckner’s will which exercised a controlling influence over the oldGesamtausgabeand remains a seminal factor in any editorial considerations regarding Bruckner. The article demonstrates that the composer never intended his will to have a bearing on post-mortem editorial issues or to dictate the hierarchy of versions of his pieces.
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Hadjakos, Aristotelis, Joachim Iffland, Reinhard Keil, Andreas Oberhoff y Joachim Veit. "Challenges for Annotation Concepts in Music". International Journal of Humanities and Arts Computing 11, n.º 2 (octubre de 2017): 255–75. http://dx.doi.org/10.3366/ijhac.2017.0195.
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Traditional historico-critical music editions provide scholars and musicians with an edited score based on the interpretation of various sources such as the composer's autograph(s), letters and other materials from copyists or publishers. Their digital counterparts have the potential to offer new and more expanded ways to explore the work. This is based on the possibility to provide large amounts of source materials and to annotate more extensively (since printing costs are irrelevant). Furthermore, audio and video recordings of performances can be integrated. But, similarly important, the user interface makes it much easier to navigate in the complex network of cross-references between various source materials and the editor's annotations. The XML-based Music Encoding Initiative (MEI) format is the standard music representation format for digital music editions. In this article we discuss current MEI-based annotation practices and outline the current challenges for music annotations, including a discussion of anchoring options, the embedding of addressable elements in the local musical context, the annotation of audio, and the categorisation of annotations. This leads to a discussion of open questions such as the ability to secure authorship in open and reusable editions.
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Link, Dorothea. "The Fandango Scene in Mozart's Le nozze di Figaro". Journal of the Royal Musical Association 133, n.º 1 (2008): 69–92. http://dx.doi.org/10.1093/jrma/fkm011.
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This article concerns the use of dance in the Act 3 finale of Mozart's Le nozze di Figaro, starting from the problem articulated by Alan Tyson in his Mozart: Studies of the Autograph Scores. Tyson points out that the absence of the fandango from the Viennese musical sources is at odds with Da Ponte's statement that the dance scene was restored at the emperor's command. New evidence shows that the fandango was performed for the three performances that constituted a première at this time in Vienna and was then removed from the score. However, before its removal, the score with the fandango intact was copied for at least one other theatre, hence accounting for the two versions that circulated through Europe. The article goes on to consider the dramatic function of the fandango by exploring the nature of the dance itself and examining the stage directions in the autograph in combination with those in Beaumarchais's play, several early librettos and editions, and the original first-desk first-violin part.
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Sholokhova, Anna S. "Gogol, N.V. “The Old World Landowners.” Autograph, text prep. and comment. by A.S. Sholokhova". Literary Fact, n.º 24 (2022): 8–36. http://dx.doi.org/10.22455/2541-8297-2022-24-8-36.
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The author of the article publishes autograph of N.V. Gogol’s story “The Old World Landowners” — the earliest edition of the text — for the first time. This is the only handwritten source, which is different mainly stylistically from the printed version of “Mirgorod” (1835). At the same time, numerous amendments, corrections and additions made in the process of text transformation clearly demonstrate the nature of Gogol's work. The footnotes show the revision canceled by Gogol in the manuscript.
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Neubacher, Jürgen. "neuer Quellenfund zur Mitarbeit Johannes Brahms' an Friedrich Chrysanders Ausgabe von Händels „Italienischen Duetten und Trios“ (1870)". Die Musikforschung 51, n.º 2 (22 de septiembre de 2021): 210–15. http://dx.doi.org/10.52412/mf.1998.h2.936.
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Ein bislang unbekanntes, acht Notenseiten umfassendes Autograph von Johannes Brahms ist in der Staats- und Universitätsbibliothek Hamburg entdeckt worden. Es ist Teil der bisher nur durch den Druck bekannten Generalbaßaussetzung, die Brahms 1870 für die Edition der <Italienischen Duette> von Georg Friedrich Händel im Rahmen der Händel-Gesamtausgabe angefertigt hatte. Bei dem Vergleich zwischen Brahms' Niederschrift mit der Druckfassung zeigt sich, daß der Herausgeber Friedrich Chrysander einige Eingriffe in den Brahmsschen Notentext vorgenommen hat.
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Stevens, Jane R. "Concerto No. 6 in F Minor: By Johann Christian Bach?" Royal Musical Association Research Chronicle 21 (1988): 53–56. http://dx.doi.org/10.1080/14723808.1988.10540928.
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Although Johann Christian Bach is best known today as a composer of operas and symphonies, his earliest large-scale works were keyboard concertos. In fact, the only incontestably authentic works that date from before his move to Italy in 1754 are the five concertos in autograph score that are now bound together as Bach Mus. MS P 390 in the Staaatsbibliothek Preussischer Kulturbesitz in Berlin (D-brd-B). Since these manuscripts were included in Carl Philipp Emanuel Bach's estate list at his death in 1788, it is assumed that the works were composed before Christian left for Italy, and most probably after he came to live in Berlin with his older half-brother following their father's death in 1750. These five works have recently appeared, in an edition by Richard Maunder, in the Complete Works of Christian Bach now being published by the Garland Press. Those with some knowledge of the youngest Bach's keyboard concertos may be somewhat surprised to find, however, that the volume of the earliest concertos contains not only the five works that make up the autograph manuscript P 390 but a sixth concerto as well. This work, in f minor, has a relatively extensive and confused manuscript tradition, and has not always been accepted as authentic. Since the editor offers only a brief statement supporting its inclusion in the critical edition, further comment is perhaps in order.
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Bakuntsev, Anton. "Anti-Bunin pamphlet by Ivan Nazhivin". Literary Fact, n.º 16 (2020): 93–118. http://dx.doi.org/10.22455/2541-8297-2020-16-93-118.
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This publication continues the theme “I.F. Nazhivin vs I.A. Bunin” which was brought up earlier in one of the issues of “Literaturnyi fact”. Ivan Fedorovich Nazhivin (1874– 1940), a writer and publicist well-known in the Russian émigré circles, a follower of Leo Tolstoy, knew Bunin personally and corresponded with him for many years. The publication introduces into scientific circulation Nazhivin’s article-pamphlet “The County Moncher” (1934), the autograph of which (an unauthorized typescript) is stored in I.A. Bunin’s collection in the Russian State Archive of Literature and Art. Presumably, it is this text that the author intended to publish in the émigré press. The introductory article gives a brief description of the autograph, and also argues the choice of a more completed version of the text for publication. The basic principles of editing and commenting the material for publication are outlined.
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Camerota, Michele, Franco Giudice y Salvatore Ricciardo. "The reappearance of Galileo's original Letter to Benedetto Castelli". Notes and Records: the Royal Society Journal of the History of Science 73, n.º 1 (24 de octubre de 2018): 11–28. http://dx.doi.org/10.1098/rsnr.2018.0053.
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This article describes an important manuscript discovered recently in the Royal Society archives, and presents evidence that it is the holograph of Galileo's Letter to Benedetto Castelli of 21 December 1613. It was in this letter that Galileo first set out his ideas on the relation between science and religion, and defended Copernican astronomy from charges of being contrary to the Holy Scriptures. The text of the Letter has hitherto been known only through manuscript copies, namely the 12 used by Antonio Favaro in his critical edition of 1895. Despite his magisterial work, Favaro did not manage to locate Galileo's autograph and was forced to rely exclusively on copies. The Letter to Castelli preserved at the Royal Society is of remarkable interest. By comparison with the other extant manuscript copies by different hands, its wording seems to be theologically more daring and compromising. The discovery of this autograph is therefore one of the most important in Galilean studies in recent decades, shedding new light on his intricate relations with the Roman Catholic Church in these years.