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1
Sinigaglia, Edoardo <1996>. ""Old English Boethius" - a scholar digital edition". Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18407.
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Duoji, Nyingcha. "Gha rung pa Lha'i rgyal mtshan as a Scholar and Defender of the Jo nang Tradition: a Study of His Lamp That Illuminates The Expanse of Reality with an Annotated Translation and Critical Edition of the Text". Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11533.
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During the fourteenth century, with the rise of Dol po pa Shes rab rgyal mtshan (1292-1361), the gzhan stong philosophical tradition became a source of great controversy in Tibet. Dol po pa taught this new philosophical tradition for the first time to the wider Tibetan intellectual community. As Dol po pa's Jo nang teachings attracted an audience, many other philosophical giants of the day, such as Bu ston Rin chen grub (1290-1364), Red mda' ba Gzhon nu blo gros (1349-1412/13), and their students composed polemical works to refute Jo nang tradition. Lamp that Illuminates the Expanse of Reality was composed in the midst of this controversy to defend the Jo nang point of view. In it, its author, Gha rung pa Lha'i rgyal mtshan (1319-1402/03), attempts to prove that the Jo nang philosophical tradition is the definitive teaching and the quickest path to achieve the Buddhahood.
3
Caponnetto, Alfredo. "Portfolio of compositions and scholarly edition". Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5970.
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A. Scholarly Edition: 1. Zoilo Annibale, Ave Regina a Quattro Chori, ed. by Caponnetto A. and O’Regan N. in Caponnetto A. Ph. D. dissertation, item 2‐ Scholarly Edition, University of Edinburgh, 2011. B. Portfolio Of Compositions: 1. Caponnetto Alfredo, Ave Regina, for eight solo voices or choir and organ, in Caponnetto A. Ph. D. dissertation, item 1, University of Edinburgh, 2011. 2. Caponnetto Alfredo, Dialectic of the Many and the One: Protagoras‐Parmenides‐Gorgias, for piano quintet, in Caponnetto A. Ph. D. dissertation, item 3, University of Edinburgh, 2011. 3. Caponnetto Alfredo, Konzertstück, for piano and orchestra (2009 version), in Caponnetto A. Ph. D. dissertation, item 4, University of Edinburgh, 2011. 4. Caponnetto Alfredo, Meno, quintet, in Caponnetto A. Ph. D. dissertation, item 5, University of Edinburgh, 2011. 5. Caponnetto Alfredo, Phaedrus: Phaedrus’ Speech and Socrates’ Speech, for symphony orchestra, in Caponnetto A. Ph. D. dissertation, item 6, University of Edinburgh, 2011. 6. Caponnetto Alfredo, Symposium I, for xylophone, trombone, oboe and perc., in Caponnetto A. Ph. D. dissertation, item 7, University of Edinburgh, 2011. 7. Caponnetto Alfredo, Symposium II, for soprano and string quartet in Caponnetto A. Ph. D. dissertation, item 8, University of Edinburgh, 2011. 8. Caponnetto Alfredo, The Apology of Socrates, opera‐oratorio, in Caponnetto A. Ph. D. dissertation, item 9, University of Edinburgh, 2011.
4
Kiser, Fred Curtis. "A scholarly edition of Ignazio Donati's "Salmi boscarecci"". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/834.
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This thesis presents a complete scholarly edition of Ignazio Donati's Salmi boscarecci, a collection of Vespers music for multiple choirs composed while Donati was working for the city of Casalmaggiore between 1621 and 1623. Ignazio Donati (c.1568-1638) had a distinguished career that placed him in several important centers of music during his lifetime, including Urbino, Ferrara, Casalmaggiore, Novara and Milan, with his final position at the Duomo of Milan. Donati is regarded as an important composer of the period because of his varied and highly successful career as a maestro, his extensive list of publications, how often his music was reprinted and how he was represented in other collections. His Salmi boscarecciappears to have been disseminated throughout the Italian peninsula and into other parts of Europe, and was valued enough to be reprinted posthumously in 1639. The collection has received greater attention than many contemporary works in current scholarship because of the extensive introduction that outlines different performance configurations.
The Salmi boscarecciwere composed for twelve different voice parts plus organ continuo, and Donati wrote an extensive introduction which describes a variety of other performance options. This utilitarian approach allowed the collection to be performed in a variety of ways and with a large range of performing forces. The top six parts are for solo voices. The lower six parts are written for a combination of soloists, ripieno chorus, and instruments. Donati stated that the twelve parts may be split into several different combinations of voices and instruments. For example, the full set of parts could be divided into two, three or four choirs that could also be placed in separate areas of the church. The lower six parts could be performed by soloists, chorus and instruments, or by any group or combination thereof. If using only the top six books, the lower parts could also be transposed into higher ranges to make the collection accessible to nuns. The soprano line could be sung by a tenor if sopranos were scarce.
The Salmi boscarecciis discussed in terms of its flexibility, content (how it would be utilized in Vespers services) and performance options. The collection builds upon the extensive traditions passed on by prominent North Italian musicians that composed Vespers music for multiple choirs, such as Giovanni Gabrieli, Ludovica Viadana and Claudio Monteverdi. Thus, Donati's Salmi boscarecciwill be positioned within the larger seventeen-century Vespers traditions. Finally, Donati's life and career are examined, with special attention paid to the time period he served in Casalmaggiore, as he was hired and supported through the collaboration of several confraternities in Casalmaggiore.
A complete scholarly edition comprises the second half of the project. The edition includes the complete contents of the Salmi boscarecci: the response Domine ad adjuvandum me festina, settings of ten Vespers psalms (two of which have alternate versions), two settings of the Magnificat in separate tones, and a Mass. It also contains ripieno parts that were meant to be added to a mass in Donati's 1622 Messe.
5
Sexton, James Penman. "Huxley's lost play, Now more than ever, a scholarly edition". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ32769.pdf.
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Woods, Thomas James. "CARLISLE FLOYD’S OF MICE AND MEN A NEW SCHOLARLY EDITION". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15799.
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Carlisle Floyd is one of the most prolific American operatic composers. His output includes Susannah (1955), the most frequently performed American opera after Porgy and Bess, and at least ten other operas including Of Mice and Men (1970), which has been performed all over the world to critical and popular acclaim. Of Mice and Men has become a major work in the American operatic canon but until now it has lacked a scholarly edition to address the complicated state of its source materials (in particular the loss of the manuscript full score) or even a properly engraved full score and set of orchestral parts. This thesis is conceived as a companion to a new score and materials printed by Boosey and Hawkes, which create for the first time a set of edited materials for performers and scholars alike. Its main part is the Critical Apparatus and Critical Notes, which explain the editorial process in detail and list and explain all editorial interventions and decisions. In addition the history of the opera’s creation is discussed and the differences between the final version and earlier ones is examined in detail. I sincerely hope that the new edition of Of Mice and Men and accompanying thesis may be just the first of a long overdue series of new, critical editions of Floyd’s operas.
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Artenie, Cristina. "Transylvania and romania in scholarly editions of Bram Stoker's Dracula". Doctoral thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26404.
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À partir des années 1970, le roman Dracula de Bram Stoker (1897) a connu une série inattendue d’éditions critiques, qui ont contribué en même temps à la canonisation d’une œuvre de fiction considérée auparavant comme dédaignable et à la perpétuation des points de vue du roman sur la Transylvanie et la Roumanie. En général, les éditeurs suivent le principe selon lequel les annotations doivent permettre au public d’aujourd’hui d’avoir une expérience de lecture similaire à celle des premiers lecteurs et aussi proche de l’intention de l’auteur que possible. Dans le cas de Dracula, cela présuppose que beaucoup des choix idéologiques de Stoker restent inexpliqués et indisputés, tandis que ses représentations des peuples et des lieux “lointains” sont soutenues par l’usage que font les éditeurs des notes de travail du romancier. Stoker a pris note, en les modifiant, des centaines de citations de différentes sources qu’il a ensuite incorporées dans le texte du roman. Les éditeurs de Dracula se fient à ces notes, sans prendre en compte les changements opérés par le romancier, les passages qu’il a utilisés mais qui n’apparaissent pas dans les notes, ou le fait que les sources sont souvent biaisées ou simplement érronées. Ainsi, les éditions critiques du roman de Stoker préservent et même contribuent au processus d’altérisation commencé par l’auteur de Dracula. L’analyse du discours d’altérisation est directement liée à la discussion du contexte historique du roman, c’est-à-dire le statut néo-colonial de la Roumanie, abordé dans la deuxième partie de cette étude. Les faits qui y sont mis en valeur montrent que ce que Stoker savait et ceux qu’il connaissait ont influencé ses choix d’endroits, de personnages et d’intrigue. L’implication de la Grande Bretagne dans l’économie et la politique de la region, avant et après la Guerre de Crimée, attestée par la présence des aventuriers coloniaux britaniques et par celle de la marine militaire anglaise sur le Danube, n’a guère était étudiée par les historiens. Le même peut être dit de l’implication de Londres au sein de la Commission Européenne du Danube. La présente étude pourrait aussi être utile aux spécialistes du postcolonialisme, de la mondialisation ou à ceux qui s’intéressent aux transformations apportées par le capitalisme dans le Bas Danube et à l’intégration des principautés roumains dans le marché économique mondial. Stoker a trouvé ses sources parmi les écrits des voyageurs en Transylvanie et Roumanie qui se préoccupaient des avantages économiques offerts par ces pays. Leurs écrits ont d’abord stimulé et ensuite soutenu l’implication de la Grande Bretagne dans l’économie de la région. La présente thèse va au-delà d’une autre frontière, en passant des études littéraires à l’anthropologie. Les anthropologues culturels peuvent trouver utile la discussion du temps et de la différence dans le roman de Stoker et dans les annotations des éditeurs. Dans les deux cas, il s’agit de la collection et de la manipulation des données concernant une région européenne « lointaine ». La (non)existence des croyances aux vampires est une situation qui peut fournir un aperçu des pratiques traditionnelles mais aussi, ce qui est plus important, des conséquences profondes du travail anthropologique du dix-neuvième siècle. Bien qu’elle soit un examen des éditions les plus richement annotées du roman de Bram Stoker, la présente étude est interdisciplinaire. Elle utilise des théories et des conceptes de plusieurs domaines, tout en attirant l’attention sur les liens complexes entre la culture, l’histoire, la politique et l’économie. Ce que cette étude montre surtout, c’est le lien étroit entre l’objet littéraire et le contexte dans lequel il a été produit.Since the 1970s, Bram Stoker’s Dracula (1897) has gone through an unexpectedly long series of scholarly editions, which has contributed both to the canonisation of a work of fiction previously considered undeserving and to the perpetuation of the novel’s views on Transylvania and Romania. As a rule, editors follow the principle according to which their annotations should allow today’s audience a reading experience similar to that of the original reader and as close to the author’s intention as possible. In Dracula’s case, this means that much of Stoker’s ideological choices remain unexplained and unchallenged, while his representations of “remote” people and places are supported by the editors’ use of the writer’s working notes. Stoker took down, in altered form, hundreds of quotes from several sources that he incorporated into the text of the novel. The editors of Dracula rely heavily on these notes, without taking into account the changes brought by the novelist, the passages that he used but do not appear in the notes, and the fact that the sources were often biased or simply wrong. Thus, the many scholarly editions of Stoker’s novel preserve and even enhance its original process of othering. The analysis of the othering discourse is closely linked to the discussion of the historical context of the novel, that is, to the neo-colonial status of Romania, examined in the second part of this study. The information unearthed here shows that who and what Stoker knew influenced his choice of place, plot and character, which can provide a new line of inquiry for both literary critics and historians. The involvement of Great Britain in the economy and politics of the region, before and after the Crimean War, attested by the presence of British colonial adventurers and by that of the British navy on the river Danube, has only been marginally studied by historians, and the same is true about the study of the British involvement in the European Commission of the Danube. The present study can be equally useful to scholars engaged with postcolonialism, globalisation, and the transformations brought about by capitalism in the Lower Danube region and by the integration of the Romanian principalities into the world market economy. Stoker’s sources were travellers to Transylvania and Romania who were preoccupied with the economic advantages those countries had to offer. Their writings both stimulated and, later, supported the British involvement in the economy of the region. This dissertation crosses yet another boundary, from literary studies into anthropology. Cultural anthropologists can find useful the discussion of time and difference in Stoker’s novel and in the annotations of the editors, both of which involve the collection and manipulation of data from a “remote” European region. In the case of Dracula, the (non)existence of vampire beliefs is an interesting case study which provides insight into the practice but, more importantly, into the far-reaching consequences of nineteenth-century anthropological work. Although an examination of the most heavily annotated scholarly editions of Bram Stoker’s vampire novel, the present study is interdisciplinary. It employs theories and concepts from several fields, thus bringing to the fore the intricate links between culture, history, politics and economy. What this study shows, more importantly, is the close link between the literary object and the context in which it was produced.
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Leitch, Caroline. "Ralph Barnes Grindrod's Slaves of the Needle: An Electronic Scholarly Edition". Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2812.
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This thesis involves both editorial practice and literary analysis. In order to establish an editorial framework for the electronic scholarly edition of Dr. Ralph Barnes Grindrod's pamphlet Slaves of the Needle, I examine current issues in electronic textual editing. In the electronic scholarly edition, approximately twelve of the pamphlet's thirty-five pages are transcribed and encoded using TEI-based code. The second aspect of my master's thesis concerns the depiction of seamstresses in nineteenth-century British literature. Slaves of the Needle provides a non-fiction counterpart to the fictional seamstresses of mid-nineteenth-century literature. Using Slaves of the Needle as a basis for evaluating the accuracy of mid-nineteenth-century characterizations of seamstresses, I show that authors such as Charles Dickens, Elizabeth Gaskell, Ernest Jones, and Charlotte Elizabeth Tonna were familiar with the working conditions of seamstresses. By conducting a close reading of certain representations of the seamstress in both fiction and non-fiction, I develop a theory of why the depiction of some aspects of the seamstress story are more accurate than others.
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Barrellon, Vincent. "A generic approach towards the collaborative construction of digital scholarly editions". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEI113/document.
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Les éditions critiques numériques sont des ressources patrimoniales annotées, sous une forme numérique. De telles éditions prennent la forme d'une transcription des ressources originales, augmentées d'un apparat critique, c'est-à-dire, la forme de données structurées. Dans un contexte collaboratif, a structure de ces données est définie explicitement par un schéma, document interprétable qui contraint la manière dont les éditeurs vont pouvoir annoter les ressources primaires et va de ce fait garantir une certaine homogénéité dans le respect de la politique éditoriale. Les projets d'édition critique numérique font classiquement face à deux problèmes techniques. Le premier a à voir avec l'expressivité des langages d'annotation, qui empêchent l'expression de certaines informations utiles. La seconde tient au fait que, par expérience, les schémas qui sous-tendent une édition critique vont être amenés à évoluer au cours de la réalisation de cette édition ; cependant, modifier le schéma implique qu'il faille mettre à jour l'intégralité des données structurées validées par ce schéma, ce qui est habituellement effectué à la main par les éditeurs, au moyen de scripts ad-hoc – si les éditeurs, faute de moyens ou de temps, ne renoncent pas à faire évoluer la structure de données. Dans ce travail de thèse, nous définissons les fondements théoriques pour l'établissement d'un système éditorial dédié à l'édition critique numérique. Nous définissons les eAG, un modèle d'annotation déporté basé sur un formalisme de graphes cycliques, autorisant a plus grande expressivité. Nous définissons un mécanisme de schéma innovant, SeAG, permettant la validation à la volée des eAG au cours de leur manufacture. Nous définissons également une syntaxe de balisage présentant des similarités avec les langages d'annotation classiques comme XML, tout en préservant l'expressivité des eAG. Enfin, nous proposons une algèbre bidirectionnelle pour les eAG de telle sorte que, si un SeAG S est transformé en un SeAG S', alors tout eAG I validé par S est traduit de manière semi-automatique sous la forme d'un eAG I', validé par S', et tel que toute mise à jour de I (respectivement I') soit propagé, de manière semi-automatique, sur I' (resp. I)Digital Scholarly Editions are critically annotated patrimonial literary resources, in a digital form. Such editions roughly take the shape of a transcription of the original resources, augmented with critical information, that is, of structured data. In a collaborative setting, the structure of the data is explicitly defined in a schema, an interpretable document that governs the way editors annotate the original resources and guarantees they follow a common editorial policy. Digital editorial projects classically face two technical problems. The first has to do with the expressiveness of the annotation languages, that prevents from expressing some kinds of information. The second relies in the fact that, historically, schemas of long-running digital edition projects have to evolve during the lifespan of the project. However, amending a schema implies to update the structured data that has been produced, which is done either by hand, by means of ad-hoc scripts, or abandoned by lack of technical skills or human resources. In this work, we define the theoretical ground for an annotation system dedicated to scholarly edition. We define eAG, a stand-off annotation model based on a cyclic graph model, enabling the widest range of annotation. We define a novel schema language, SeAG, that permits to validate eAG documents on-the-fly, while they are being manufactured. We also define an inline markup syntax for eAG, reminiscent of the classic annotation languages like XML, but retaining the expressivity of eAG. Eventually, we propose a bidirectional algebra for eAG documents so that, when a SeAG S is amended, giving S', an eAG I validated by S is semi-automatically translated into an eAG I' validated by S', and so that any modification applied to I (resp. I') is semi-automatically propagated to I' (resp. I) – hence working as an assistance tool for the evolution of SeAG schemas and eAG annotations
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Cavarzeran, Jacopo. "Scholia in Euripidis Hippolytum: edizione critica, introduzione, indici". Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424706.
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This thesis provides a new critical edition of the scholia to Euripides’ Hippolytus with an apparatus of loci similes. The first chapter of the introduction briefly discusses the exegesis and the critical interpretation of the euripidean text in antiquity as well as creation and development of this scholiastic corpus. The second one investigates the manuscripts and the medieval tradition of the scholia to Hippolytus. Indices have been added at the end. This work also offers, for the first time, an edition of the metrical scholia by Demetrius Triclinius to this tragedy.La tesi fornisce una nuova edizione critica degli scholia all’Ippolito di Euripide completa di apparato di loci similes. Il primo capitolo dell’introduzione tratta brevemente dell’esegesi del testo euripideo nell’antichità e della crezione e sviluppo di questo corpus scoliastico. Il secondo indaga i manoscritti e la tradizione medievale degli scholia all’Ippolito. Sono stati aggiunti degli indici alla fine. Questo lavoro offre anche, per la prima volta, un’edizione degli scholia metrici di Demetrio Triclinio a questa tragedia.
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Hawley, W. F. "The unknown, or, Lays of the forest by William F. Hawley, a scholarly edition". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ58107.pdf.
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Jordan, Sheila Pat. "The Teran de los Rios-Massanet Expedition of 1691: a scholarly edition and comparative study". Thesis, Texas A&M University, 2003. http://hdl.handle.net/1969.1/2247.
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This thesis edits and compares two diaries written during one of the earliest Spanish expeditions into Texas during 1691-1692. The first governor of the Province of the Tejas Indians, Domingo Ter??n de los R??os, steered the military and exploratory aspects of this significant expedition during 1691 and 1692, while Father Dami??n Massanet investigated the anticipated establishment of missions in the frontier borderland of New Spain. Both men kept individual accounts of the expedition at the behest of the Crown. Textual evidence for these diaries consists of the original manuscript of Ter??n??s diary with three extant copies, and Massanet??s original manuscript with two copies. Until now, unedited transcriptions and an English-language translation have served as the source for historical studies of this expedition, but to date none of these manuscripts has been edited critically. Having compared systematically the most reliable manuscript of Ter??n??s diary, as well as the original Massanet diary, this thesis presents findings that pertain to the shared and divergent content and language found in the diaries. The findings include new historical information and clarification of discrepancies in daily events, distances traveled, assignment of names to specific places, and interactions with the indigenous population. The differences manifested in each diary highlight the disparity in purpose and perspective between a military expedition and a spiritual mission. Likewise, the findings underscore the challenges and differences of opinion faced by two leaders of a consolidated expedition. This thesis includes an introductory chapter with the following segments: background of the two expeditions of 1689 and 1690 that preceded and laid the foundation for the third, more ambitious expedition of Ter??n and Massanet; an overview of the third expedition; and a review of the literature concerning the expedition. The second chapter concerns the transcriptions of the diaries of Ter??n and Massanet, and contains the following divisions: methodology; descriptions of both manuscripts; the norms of transcription; the transcription of Massanet??s manuscript; and the transcription of Ter??n??s manuscript that corresponds to the dates of the Massanet diary. After the transcriptions is an analysis of the first month of the expedition, from May 16 to June 16. This analysis deals with the content and language of the diaries. The final chapter presents conclusions and areas for future research. This work is relevant for historians, linguists, philologists, anthropologists, archeologists and other scholars interested in the history of the Spanish Southwest.
13
Mays, Lawrence John. "A Scholarly Edition with Exegesis of Niccolò Piccinni's Dramma Giocoso: 'Il Regno della Luna' (1770)". Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/141079.
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Niccolò Piccinni’s dramma giocoso Il Regno della Luna
premiered in 1770, at a time when Europe and the world in general
were changing at an almost unprecedented rate. New scientific
discoveries, global exploration, colonialism, and interaction
with non-European ‘others’, combined with evolving
philosophical concepts of epistemology, sociopolitical structures
and human emotions culminated in a mid-century reappraisal of
future directions for European states. A distinguishing
characteristic of societal discourse in latter half of the
eighteenth century was that knowledge previously considered
beyond dispute became open to question. The libretto of
Piccinni’s opera canvasses a broad range of contemporaneous
issues in a uniquely confronting manner. Exploiting the trope of
an ‘other world’ and ‘other time’ setting, it concerns a
visit in the future by Earth people to a fictive Lunar society
which has a radically different socio-political structure from
that in contemporary Europe. Women have political control through
an elected female monarchy, and the society is predicated on a
dominant position of women in interpersonal relationships. The
Lunar society evinces several contrasts with ‘sacred’
European institutions such as the nuclear family, monogamy and
patriarchy. The libretto also engages with polemics on issues
such as militarism, unfettered trade, colonialism and the
dichotomy between science and mythology.
Musically it demonstrates Piccinni’s importance in the
development of late eighteenth-century opera. In common with the
works of others who sought to reform the genre, Piccinni subverts
and experiments with the dramma giocoso conventions of strict
correspondence between musical style and social status. With its
flexible overall structure and in the varied forms of set pieces,
the work aligns with the late eighteenth-century concept that the
composer’s primary task was to support the drama by reinforcing
meanings immanent in the text. It also engages with changing
concepts of human emotion from the Cartesian static model to the
associationist model of constant flux. Piccinni’s score
provides unusually precise information on expression and
articulation. As such, this scholarly modern edition makes a
significant contribution to our knowledge of late
eighteenth-century operatic performance practice. With its
implication of cognitive displacement in time and place, the
opera could be interpreted as prototypical science fiction.
However, the pre-eminent interpretation of the work is that it is
a satire on the constraints which some elements of European
society sought to impose on the social and political position of
women. In a very real sense it was an opera for ‘the century of
women’.
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Lancaster, Philip George. "The making of a poet : a scholarly edition of Ivor Gurney's poetry, 1907 to Armistice 1918". Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/12162.
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Ivor Gurney (1890-1937) was equally gifted as a poet and a composer. While a very small number of pieces of juvenilia survive, arising from his passion for and immersion in literature, he began to write poetry following his enlistment as a soldier in the First World War. In this thesis I have prepared an edition of all of Gurney’s poetry from its beginnings until the Armistice on 11 November 1918. The edition of over two hundred poems incorporates 59 poems and fragments that have not previously been published. I have sought to present this body of poetry in chronological order, and with extensive textual notes and commentary, to chart the development of poems through all stages of draft to fnal poem. This has been made possible by an unprecedented detailed analysis of all Gurney’s manuscripts and a wholesale reorganisation of that extensive collection.
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Ward, Antonia. "'Odd prefaces' : Frederick James Furnivall and masculinity in Victorian scholarship". Thesis, University of York, 2000. http://etheses.whiterose.ac.uk/14039/.
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Lautenbach, Jan. "Komplexe Edition im Digitalen Zeitalter". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2012. http://dx.doi.org/10.18452/16548.
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Am Beispiel der altgermanistischen Edition wird dargelegt, dass das Buch als Publikationsort herausgefordert ist: Einerseits haben die Diskussionen zur ''New Philology'' gezeigt, dass die Möglichkeiten des Printmediums erschöpft sind. Andererseits hat sich durch die ''Neuen Medien'' der Erwartungshorizont der Leser-Benutzer gravierend verschoben. Obwohl die elektronische Datenverarbeitung im Editionsprozess seit Beginn des digitalen Zeitalters eine bedeutende Rolle spielt, fällt es dem Fach schwer, diesem Horizont und den daraus resultierenden Ansprüchen gerecht zu werden. Das liegt daran, dass – der Theorie nach – bei Medienumbrüchen das alte Medium dem neuen den Aktionsradius vorgibt, sodass Bremseffekte stets die Entwicklung beeinflussen. In der Praxis bedeutet dies, dass die digitalen Medien nur als Präsentationsvehikel ausgebeutet werden. Zwar werden Handschriften, Buchbestände und Texte erschlossen und im Internet zugänglich gemacht, sodass klassische Editionen (Faksimile, diplomatischer Abdruck, Fassungsedition oder historisch-kritische Ausgabe) nicht mehr nur im gedruckten Buch abgebildet werden. Jedoch macht schon die Rezeption an unterschiedlichen Endgeräten (E-Book-Reader, PC-Bildschirmen, Smartphones, Braille Displays etc.) Grenzen sichtbar. Noch deutlicher wird dies unterhalb der sich wechselseitig treibenden Wirkkräfte Standardisierung, Interoperabilität, Ausdifferenzierung, Kollaboration, Webapplikationen, Semantik, Zugänglichkeit, Barrierefreiheit und Legalität. Sie stellen für die komplexe Textedition einen völlig neuen Anforderungskatalog dar, der die statische Präsentation der Ergebnisse hinter sich lässt. Dieses traditionelle Ziel allen Edierens rückt gegenüber dem Editionsprozess und dem genuinen Potential der digitalen Medien, der Trennung der Präsentation vom Speicher, in den Hintergrund. Entscheidend wird sein, dass Editionsdaten für das fortgesetzte Bearbeiten offen und dabei auf verschiedensten Endgeräten flexibel präsentierbar bleiben.Looking at recent publications of medieval German texts reveals two challenges to the dominance of the printed book as the principal place for publishing: On the one hand, the ''New Philology'' has shown that the possibilities of print are exhausted. On the other hand, the expectations of the 21st century reader/user have radically changed. Despite the fact that from the beginning, digital data processing has played a major role in the editing process, it is very hard to live up to these expectations. This is because - in theory - the old medium dictates limitations to the new one, slowing down the process of expansion and change. In practice this means that so far digital media have been used only as a vehicle for presentation. With manuscripts, book collections and texts being extensively captured and made available on the Internet, classical editions (facsimiles, diplomatic editions, edited versions and historical-critical editions) are increasingly being published outside the printed book. Nevertheless, the reception of this digital content on different devices (e-book readers, computer screens, smartphones, braille displays etc.) has its limitations. This becomes even more obvious when one considers the mutually active forces of standardization, interoperability, differentiation, collaboration, web applications, semantics, availability, accessibility and legality. These establish a whole new list of requirements that goes beyond the static presentation of the results of the editing process. While the traditional goal of all editing processes is losing its importance, it nevertheless opens up the genuine potential of digital media: the separation of presentation from memory. In the future, publishing data could be kept open for further processing and would remain flexible for presentation on all kinds of devices.
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Benenati, Stefano. "Le roman d'Alexandre en prose du XIIIe siècle. Histoire de la tradition et édition critique". Electronic Thesis or Diss., Université de Lille (2022-....), 2024. https://pepite-depot.univ-lille.fr/ToutIDP/EDSHS/2024/2024ULILH008.pdf.
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Le Roman d'Alexandre en prose est une adaptation de l'œuvre latine Historia de preliis Alexandri Magni I2 (Orosius-Rezension) en ancien français et a été composé par un auteur inconnu dans les trois dernières décennies du XIIIe siècle (ca.1260-1299). Ce projet propose une étude philologique-littéraire du roman et une édition critique “néolachmannienne” de son texte, pourvue d'un apparat des variantes. La tradition manuscrite (vingt témoins dont deux perdus), imprimée (onze éditions entre 1506 et 1631) et indirecte (sept cas de réemploi de l'œuvre de la deuxième moitié du XIII siècle à la fin du XVI siècle) a fait l'objet d'une description détaillée. L'analyse des variantes textuelles des dix-huit témoins a abouti à une hypothèse sur la transmission de l'œuvre, qui a été représentée dans un stemma codicum. De plus, la mise à jour du recensement des manuscrits de l'Historia de preliis I2 et leur analyse a permis d'identifier la branche de la tradition de l'œuvre latine dont le modèle de la traduction française a dérivé. Des critères d'édition univoques et contrôlables ont été ainsi établis sur la base de ces études. Le manuscrit d'où la surface graphique du texte critique a été puisée a fait l'objet d'une analyse codicologique et linguistique ponctuelle. En outre, l'édition a été complémentée d'un commentaire analytique et d'un glossaire. Sur le plan littéraire, une étude des passages où le traducteur s'est éloigné du texte-source a éclairé les modalités de compilation des sources secondaires (telles que le Roman d'Alexandre en vers, l'Histoire Ancienne jusqu'à César, le Trésor) et la spécificité de certaines de ses interventions originellesThe Roman d'Alexandre en prose is an Old French adaptation of the Latin chronicle known as Historia de preliis Alexandri Magni I2 (Orosius-Rezension). It has been redacted by an unknown author at a certain point during the last three decades of the XIIIth century (around 1260-1299). This project consists of a philological and literary study of the romance and of its “neolachmannian” critical edition. The Old French Prose Alexander's tradition, including the eighteen manuscripts, the eleven printed editions and its indirect tradition, has been described in detail. The scrutiny of its witnesses' textual variants resulted in a hypothesis on its genealogical transmission, which has been represented in a stemma codicum. Moreover, through an analysis of its Latin original's manuscript tradition, we identified the exact branch the model of the French adaptation derived from. Based on those in-depth studies, verifiable and univocal editing principles have been established. The manuscript used for the graphic surface of the critical edition has been the purpose of a specific codicological and linguistic description. Besides, the main interpretative and philological issues have been extensively discussed in a point-by-point comment. The edition has been equipped with a critical apparatus and a glossary, as well. On the literary ground, the investigation of the passages unconnected to the Latin original revealed the specific way in which the author compiled secondary sources such as the verses Roman d'Alexandre, the Histoire Ancienne jusqu'à César, the Tresor, and original contributions
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Siciliano, Angela. "La bibliothèque de Giorgio Bassani : origines, transformations, usages, intertextualités". Thesis, Université Grenoble Alpes, 2022. http://www.theses.fr/2022GRALL015.
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Cette recherche est une étude monographique consacrée à la bibliothèque personnelle de Giorgio Bassani, une riche collection de livres aujourd'hui conservée à Ferrare, à la Maison de l’Arioste. L'ouvrage ne se limite pas à établir le catalogue de la bibliothèque et l'édition des volumes annotés par l'écrivain, mais se présente comme une étude analytique qui combine philologie et critique.Le chapitre I reconstitue d'abord l'histoire matérielle de la collection : sa formation, son démembrement à l'automne 1943 et son réassemblage final après la mort de l'écrivain en 2000.Le chapitre II, en revanche, traite des liens entre les livres et la biographie humaine et artistique de Bassani, qui est reconstruite en cinq sections : les années universitaires (1934-1939), les années racontées dans Il Giardino dei Finzi-Contini (1938-1939), les années durant lesquelles Bassani traverse une grave crise stylistique après la publication de Una città di pianura (1940-1944), la période de son militantisme antifasciste (1937-1944) et la maturité de l'écrivain (après 1948).Plus strictement philologique, mais également attentif aux implications critiques, le chapitre III reconstruit la méthode de lecture et d'annotation de Bassani en commentant des exemples significatifs, utiles pour révéler des aspects inédits de la poétique et de la pensée de l'écrivain, notamment dans ses années de formation.La recherche a également été l'occasion de réfléchir aux méthodologies d'édition des livres annotés et aux problèmes rencontrés par le philologue-éditeur, face auxquels la philologie numérique présente des avantages considérables. Ce point est développé dans le chapitre IV, dans lequel nous examinons les caractéristiques et le potentiel du prototype d'édition numérique qui a été réalisé sur les annotations écrites par Bassani en marge du volume La scuola dell'uomo de Guido CalogeroThis research is a monographic study dedicated to Giorgio Bassani's library, a rich collection of books now preserved in Ferrara, at Casa Ariosto. The work is not limited to providing a catalogue of the library and a critical edition of its annotations but is presented as an analytical study that combines philology and criticism.Chapter I reconstructs the material history of the collection: its formation, its dismemberment in the autumn of 1943 and its final reassembly after the writer's death in 2000.Chapter II, on the other hand, discusses the links between the books and Bassani's human and artistic biography, which is reconstructed in five sections: the university years (1934-1939), the years recounted in Il Giardino dei Finzi-Contini (1938-1939), the years in which Bassani went through a serious stylistic crisis after the publication of Una città di pianura (1940-1944), the period of his militancy in anti-fascism (1937), and the writer's maturity (after 1948).More strictly philological in approach, but also attentive to critical implications, is Chapter III, which reconstructs Bassani's method of reading and annotation by commenting on significant examples, useful for revealing previously unseen aspects of the writer's poetics and thought, particularly in his formative years.The research also offered the opportunity to reflect on the methodologies of editing annotated books and on the problems faced by the philologist, in the face of which digital philology shows considerable advantages. This point is developed in chapter IV, in which we examine the characteristics and potential of the digital edition prototype that was created on the annotations written by Bassani on the margins of La scuola dell'uomo by Guido Calogero
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Nakielski, Christopher John. "A scholarly edition of Suita Maryjna, a Polish Marian suite for treble chorus, string quartet and two flutes, by Irena Pfeiffer". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6228.
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This is the first published edition of Suita Maryjna (1987), a nine-movement Marian suite intended for three-part treble chorus, string quartet and two flutes composed by the Polish neoclassicist composer Irena Pfeiffer (1912-1986). The work was most likely intended for performance during Pope John Paul II’s pilgrimage to the Wawel Cathedral in Cracow, Poland in June 1987. It is structured according to a Marian prayer service known as the Jasna Góra Appeal, first prayed in the Jasna Góra Sanctuary in Częstochowa, Poland when the nation gained its sovereignty in 1918. The appeal was popularized by Pope John Paul II, who prayed it across Poland during his pilgrimages.
Following the 1987 pilgrimage, Pfeiffer sent a manuscript of Suita Maryjna to the Lira Ensemble, a professional ensemble in Chicago specializing in Polish music, song and dance. Pfeiffer played an important role in the Lira by serving as a long-distance artistic advisor and by providing co-founder and current artistic advisor Lucyna Migala with modern Polish compositions for nearly twenty-five years. Suita Maryjna became a cornerstone of the ensemble’s repertory and was performed frequently, including in a studio recording in 1996. This edition of Suita Maryjna is placed in the context of Pfeiffer’s career, with particular attention to her working relationship with Pope John Paul II and the Lira Ensemble. Moreover, it discusses how Suita Maryjna reflects archaism, one of several strands of Polish neoclassicism in which diverse styles from earlier historical periods are fused.
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Caldi, Miranda. "The Masses of Franciscos Leondaritis (c.1516 - c.1572) : a scholarly edition together with thirty eight motets and accompanying historical and stylistic commentary". Thesis, University of York, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565975.
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Franciscos Leondaritis (c.1518-c.1572) long thought to be Italian, was entirely forgotten until 1979, when the researches of the late Nikolaos Panayiotakis revealed him to be a Cretan singer and composer employed in the choir of St. Mark's under Willaert, and at the chapel of the Duke of Bavaria under Lassus. An edition has been made of three masses and thirty eight motets for modern performance. The biography and commentary serve to provide a historical backgound to the music of his time. This is organised into sections dealing with choral sizes, choral sound, embellishment, pronunciation, use of instruments, pitch, musica ficta and mensuration. Some are considered comprehensively with reference to the numerous main contemporary theorists in order to arrive at a position whereby informed performance of my editions can be undertaken. The focus of the entire commentary therefore is on the interpretation of sixteenth century performance practice. Leondaritis is an extremely interesting phenomenon and it is unjust that he has for so long been neglected. I have been careful, when placing him inthe context of great masters like Willaert, Lassus and Rore not to make exaggerated claims on his' behalf. What seems to me indisputable is that the works I am making available for modern performance are not only worthy of our attention but often approach excellence. He was after all considered by his contemporaries to be a composer in 'rubus harmonicus peritissimum, di fama immortale'.
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Eftekhari, Banafsheh. "Edition and Translation of the Arabic Manuscript Collection Belonged to Fakhr al-din al-Razi on Kalam Atomism". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3012/document.
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Fakhr al-Din al-Razi is a significant philosopher who is famous for his critics on Avicenna. He also made effective dialogues between two rival doctrines (namely Kalam and Peripateticism) in the Islamic world in Middle Ages. He defended Kalam Atomism in last decades of his life. This thesis is working on his two treatises as manuscripts and translating it into English. One of the treatises is about proving atom and another one is rejecting Hylomorphism. These two treatises are attached together as a manuscript book titled as Proving AtomismAu Moyen Âge, dans le monde islamique, il y avait deux groupes d'érudits qui avaient deux indications différentes sur l'existence. Le premier groupe était des philosophes, ḥukamā, qui ont approuvé falsafah ou ḥikmah. Cette doctrine avait des bases aristotéliciennes. Un autre groupe était des théologiens, mutikalimūn qui était pour la plupart atomistes. Les théologiens constituaient le kalām qui se traduisait parfois par théologie islamique.Fakhr-e-Razi ou Fakhr al-Din al-Razi était un philosophe et théologien important au 12ème siècle qui a fait des dialogues et des débats entre ces deux doctrines. Il a écrit des critiques sur les livres d'Avicenne et a défendu la doctrine de l'atomisme de Kalam. Bien qu'il ait défendu l'atomisme de Kalam dans beaucoup de livres, il a écrit un traité indépendant sur ce sujet. Cette thèse est l'édition et la traduction d'un livre manuscrit qui comprend deux traités indépendants, dont l'un, prouve atomisme et un autre réfute Hylémorphisme.Cette thèse inclut des commentaires sur l'atomisme et l'hylémorphisme (l'introduction du livre). L'atomisme comme vue générale et l'atomisme de Kalam en particulier sont étudiés. L'histoire de l'atomisme est brièvement passée en revue en tant que racines de l'atomisme de Kalam. Puis la vue de Razi sur l'atomisme est étudiée selon ce livre présent et ses autres livres. Le contraste entre la vision de Razi et la doctrine d'Avicenne comme son rival sont également analysés
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Brookman, Helen Elizabeth. "From the margins : scholarly women and the translation and editing of medieval English literature in the nineteenth century". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609521.
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Harriman-Smith, James. "Twin stars : Shakespeare and the idea of the theatre in the eighteenth century". Thesis, University of Cambridge, 2016. https://www.repository.cam.ac.uk/handle/1810/253766.
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This thesis draws the line of a rise and a fall, an ironic pattern whereby the English stage of the long eighteenth century, in its relation to Shakespeare in particular, first acquired powerful influence, and then, through the very effects of that power, lost it. It also shows what contemporary literary criticism might learn from the activities that constitute this arc of evolution. My first chapter interrogates the relationship between text and performance in vernacular writings about acting and editing from the death of Betterton in 1710 to the rise of Garrick in the middle decades of the century. From the status of a distinct tradition, performance comes to rely on text as a basis for the intimate, personal engagement with Shakespeare believed necessary to the work of the sentimental actor. Such a reliance grants the performer new potential as a literary critic, but also prepares a fall. The performer becomes another kind of reader, and so is open to accusations of reading badly. My second chapter analyses the evolving definition of Shakespeare as a dramatic author from Samuel Johnson onwards. An untheatrical definition of the dramatic (Johnson's) is answered by one which recognises the power and vitality of the stage, especially in its representation of sympathetic character (Montagu and Kenrick). Yet that very recognition leads to a set of altered critical priorities in which the theatre is, once more, relegated (Morgann and Richardson). My third and fourth chapters consider the practices and critical implications of theatrical performance of Shakespeare during Garrick's career. I focus on the acting of emotion, the portrayal of what Aaron Hill called 'the very Instant of the changing Passion', and show that performance of this time, attentive to the striking moment and the transitions that power it, required from the actor both attention to the text and preternatural control over his own emotions. In return, it allowed Garrick and others to claim a special affinity with Shakespeare and to capture the public's attention, both in the theatre and outside it. Yet this situation, that of 'twin stars', does not last. French and German responses to English acting, the concern of my last chapter, show its decline particularly well. They also, however, show the power that existed in such a union between page and stage, and equal weight is given in both my third and my fourth chapter to how the theatrical-literary insights of eighteenth-century critical culture might also illuminate modern approaches.
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Souza, Luana Batista de. "Era uma febre, era um delírio: edição crítica de O Seminarista, de Bernardo Guimarães". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8142/tde-10112017-114511/.
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Esta tese tem como objetivo apresentar a edição crítica do romance O Seminarista, de Bernardo Guimarães, preparada com base no original da obra. A edição justifica-se porque o original, embora disponível, foi modificado ao longo de sua tradição, a ponto de comprometer-se fortemente o estilo do autor, no que apresenta de mais característico. As modificações sofridas pelo texto produziram uma árvore genealógica composta por dois ramos principais, aos quais filiam-se todos os testemunhos estudados: um ramo completo e um ramo abreviado. Com o objetivo de estabelecer o texto crítico, discutem-se aspectos do romance a partir de uma perspectiva da análise literária, fixam-se critérios para a escolha do texto de base, apresentam-se as teorias existentes no âmbito da Bibliografia Textual, propõem-se relações genealógicas entre os testemunhos e fixam-se normas adequadas para uma edição crítica de original impresso. Além da apresentação crítica da edição príncipe, esta edição registra, em aparato, todas as variantes do texto ao longo dos primeiros testemunhos da tradição da obra.This thesis aims to present the scholarly edition of the novel O Seminarista, by Bernardo Guimarães, based on the works original. The edition is justified by the fact that the original, although available, was modified over its tradition, until strongly compromising the authors style on what it presents as most representative. The changes suffered by the text produced a genealogical tree with two main branches, to which are affiliated all the studied witnesses: an unabridged branch and an abridged branch. In order to establish a critical text, aspects of the novel are discussed through a literary analysis perspective, criteria are fixed so that the copytext can be chosen, theories that belong to a Textual Scholarship scope are presented, genealogical relationships between witnesses are proposed and appropriate standards for a scholarly edition of original printed are set. Besides the editio princeps, this edition registers, in its apparatus, all the variants in the text that are registered in the first witnesses of the work\'s tradition.
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Kelly, E. M. "'A more beautiful era of art' : figurenlehre, style briseÌ and other baroque elements in Brahms' piano compositions : Brahms' involvement as a scholar, performer and editor of baroque keyboard music and the effect it exerted on his compositional style". Thesis, Queen's University Belfast, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268385.
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Vigilanti, Jacqueline. "Critical Digital Transmission through the Transcription of J. A. Nensén’s Records : A Review of the Tools". Thesis, Högskolan i Borås, Akademin för bibliotek, information, pedagogik och IT, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-9556.
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This thesis aims to understand transcription as a critical transmission practice in the digital medium in order to add to the research surrounding digital library initiatives that make these research materials available and accessible. The project to transcribe the records of Lapland priest J. A. Nensén at Umeå University aims to publish the transcriptions in the cultural heritage database Alvin by Uppsala University Library. Looking at these two Swedish projects can better illustrate the issues surrounding digital tool application and integration. This thesis first explores the transcription practices of a group of scholars transcribing J. A. Nensén’s records. By understanding their model, a better picture of transcription as a scholarly practice can be achieved that can be useful when selecting a digital transcription tool. The study then identified appropriate transcription tools and reviewed the ones most applicable for the project based on the group’s paradigm. It was discovered that the main disparity in transcription practice is the balance between producing a diplomatic transcription and one that is readable. The primary consideration in transcription tool selection was found to be the goals of the project; in this case, those of the transcribers. This determined the tools to be reviewed. These were: FromThePage, Scripto, T-Pen, and Wikisource. All the tools are suitable to the editors, but they still present some obstacles in regards to diplomatic transcription.
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Hiller, Moritz. "Maschinenphilologie". Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://edoc.hu-berlin.de/18452/23730.
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"Maschinenphilologie" – das heißt: Fahndung nach dem Subjekt der Philologie. Literaturarchive, Textkritiken und Digital Humanities sind heute Schauplätze digitaler Medien, die nicht nur den passiven Gegenstand, sondern das methodische Werkzeug von Philologie abgeben. Ihre Wirkmacht nötigt zur Frage, wie eine bestimmte Maschinengattung die Prämissen, Praktiken und Institutionen dieses seit 1800 humanistisch geprägten Wissenschaftsfeldes affiziert. Und damit auch seinen geschichtsträchtigen Subjektbegriff: Denn wo nicht mehr nur oder primär Menschen, sondern auch ihr maschinelles Andere schreibt, liest, archiviert und ediert, ist die Logosliebe, mit N. Katherine Hayles zu sprechen, längst posthumanistisch geworden. Grund genug, dieses Beziehungsgeflecht von Menschen und Medien noch einmal abseits von allen Humanexzeptionalismen zu denken: Philologie am heutigen Tag ist immer auch Maschinenphilologie.This dissertation is in pursuit of the elusive agent of philology. Be it literary archives which curate digital remains, textual criticism which processes computer software, or the Digital Humanities as an alleged new paradigm of humanities, digital media poses particular challenges for philology today—not only as an object of study, but also as a methodological tool. "Machine Philology" confronts these challenges, asking more generally how a particular type of machinery affects the premises, practices, and institutions of a scientific field informed by traditional humanism. Central to the project is an inquiry into the notion of subjectivity. For, where not only human beings, but also their machinic Other, reads, writes, archives, and edits, it is to be argued that philology has—following N. Katherine Hayles—become posthumanistic. The dissertation uses this as an opportunity for a fundamental reconsideration of the entangled network of human beings and media that philology can be described as, evacuated of any human-exceptionalism: Philology today is machine philology.
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Bornmann, Lutz, Werner Marx, Hermann Schier, Erhard Rahm, Andreas Thor i Hans-Dieter Daniel. "Convergent validity of bibliometric Google Scholar data in the field of chemistry: Citation counts for papers that were accepted by Angewandte Chemie International Edition or rejected but published elsewhere, using Google Scholar, Science Citation Index, Scopus, and Chemical Abstracts". 2009. https://ul.qucosa.de/id/qucosa%3A32360.
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Examining a comprehensive set of papers (n = 1837) that were accepted for publication by the journal Angewandte Chemie International Edition (one of the prime chemistry journals in the world) or rejected by the journal but then published elsewhere, this study tested the extent to which the use of the freely available database Google Scholar (GS) can be expected to yield valid citation counts in the field of chemistry. Analyses of citations for the set of papers returned by three fee-based databases – Science Citation Index, Scopus, and Chemical Abstracts – were compared to the analysis of citations found using GS data. Whereas the analyses using citations returned by the three fee-based databases show very similar results, the results of the analysis using GS citation data differed greatly from the findings using citations from the fee-based databases. Our study therefore supports, on the one hand, the convergent validity of citation analyses based on data from the fee-based databases and, on the other hand, the lack of convergent validity of the citation analysis based on the GS data.
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Sexton, James. "Huxley's 'lost' play, Now more than ever : a scholary edition". Thesis, 1996. http://hdl.handle.net/1828/8209.
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Aldous Huxley completed a three-act play called Now More Than Ever in
the autumn of 1932. After trying unsuccessfully for over two years to persuade
theatre producers in both New York and London to stage the play, he abandoned
the project, turning his full attention to other work in progress, particularly the
novel Eyeless in Gaza, which he completed in 1936.
The core of this dissertation (Chapter Three) is an annotated edition of
Huxley's "lost" play, Now More Than Ever, based on the only extant script,
housed in the Harry Ransom Humanities Research Center, University of Texas,
Austin, and indexed as "An Unpublished Play, TMs, corrected. 92 pp."
The thesis argues that the play is an important document in Huxley's
intellectual and spiritual development and should not merely be regarded as a
minor and fruitless theatrical adventure. In fact, it is best understood as part of
the author's ongoing discussion of spiritual and social concerns to which he
consistently returned in his fiction and journalism of the inter-war period.
Written in 1932, midway between two major novels, Brave New World (1932) and
Eyeless in Gaza (1932-36), and resonating with ideas put forward in his volumes of linked philosophical essays—Do What You Will (1929) and Music at Night
(1931)— Now More Than Ever should be recognized as an important part of an
ongoing discussion with himself, which grew less and less provisional until his
arrival at the definitive outlook on life that amounts to a spiritual conversion in
1936. Like most of Huxley’s fiction and drama, Now More Than Ever is partly
autobiographical. Some o f the male characters embody, at least in part, Huxley’s
earlier positions before his spiritual conversion, specifically the sceptical/aesthete
and the extremist anti-democrat. Now More Than Ever takes the reader to the
threshold of that conversion.
Chapter One briefly summarizes the play then discusses the social, political
and economic background, with particular emphasis upon the historical events
surrounding the economic crisis which forms the backdrop for Huxley’s play.
Chapter Two discusses Huxley as drama critic as well as apprentice and
journeyman playwright. Although this aspect of Huxley’s career has received
scant attention from the critics, he left behind a significant body of dramatic
work—three full-length plays, The World of Light (1931), Now More Than Ever
(1932), and The Gioconda Smile (1948)— and co-authored stage adaptations of
his novels, The Genius and the Goddess (1957) and After Many a Summer (1958).
In addition, he published over eighty drama reviews and several short dramatic
pieces.
After discussing Huxley’s monetary and artistic goals as a dramatist, the
chapter describes his early, apprentice plays and his dramatic precepts as revealed in the reviews. Next, I examine his full-length plays within a context of the post-Ibsen "drama of ideas" in Britain, pointing to technical and thematic analogues in the dramatic works of Shaw, Munro, and Galsworthy, especially as
these authors treat what Galsworthy termed "the parlous state of England". The
chapter concludes with an analysis of The World of Light and The Gioconda
Smile.
Chapter Three introduces the play text with an analysis and evaluation of
the themes and symbolic structure of Now More Than Ever.
The appendices present several of Huxley’s Hearst essays which illumine
various aspects of Now More Than Ever followed by a list of all significant
deletions that Huxley made to his typescript.Graduate
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Temple, KR. "A scholarly edition of Thomas Heywood’s 1 The iron age". Thesis, 2021. https://eprints.utas.edu.au/45579/1/Temple_whole_thesis.pdf.
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Thomas Heywood’s 1 The Iron Age is a neglected play in Early Modern theatre. It is the fourth in a five-part re-telling of classical mythology inspired by Ovid, Chaucer, and Chapman’s Homer. The thesis is a new critical edition of this neglected play. It includes an old-spelling transcription, a modern-spelling transcription with annotations, and a critical introduction to the play which contextualises it for a student audience. It closely follows the Internet Shakespeare Editions (ISE) Style Guide and it is contracted to be published on the Digital Renaissance Editions (DRE) website. The paratextual material simultaneously reaches for the student reader less familiar with both Early Modern theatre and mythology and a scholarly audience who wishes for a new way to read Shakespeare’s Troilus and Cressida.
The landscape of Early Modern theatre in the tail end of the sixteenth century and early part of the seventeenth century was typified by changing trends in the theatrical landscape. Theatres such as the Red Bull—where Thomas Heywood was a principal player—appealed to a rowdy working class audience and pulled them in with broad plots and firework-laden special effects. The class of “professional playwright”, typified by Heywood and Dekker, show that life as a working artist, while achievable in the Early Modern period, required prolificness and the flexibility to work in multiple genres while closely following theatrical trends. It is this professional lifestyle, therefore, that can tell us more about the conditions of working in the broader theatre scene than their more artistically inclined counterparts (who often catered to a higher class of audience and were more heavily patronised by them).
The critical introduction of the play builds on the links made by scholars such as Douglas Arrell and David Bevington between 1 The Iron Age and Shakespeare’s Troilus and Cressida. Dating the composition of the The Iron Age plays and their predecessor, Troye, leads to a clearer understanding of which way the chain of influence goes between Heywood and Shakespeare—a pair who had collaborated on Sir Thomas More. The introduction also explores Heywood’s wish to have the Age plays in an annotated edition of his own that represented a significant educative project which he outlines in his An Apology for Actors. This educative project focuses most prominently in the way he deploys mythic narrative devices and the subject matter of mythology itself. It offers models of reading the five Age plays both separately and as a contiguous whole.
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Daintree, David Charles Campbell. "Scholia Bernensia : an edition of the scholia on the Eclogues of Virgil in Bern Burgerbibliothek manuscript 172". Thesis, 1993. https://eprints.utas.edu.au/19578/1/whole_DaintreeDavidCharlesCampbell1994_thesis.pdf.
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The central feature of this dissertation is an
edition of the marginal notes, or glosses, on the
Eclogues of Virgil, to be found in Bern Stadtbibliothek
MS 172, a ninth-century manuscript written in carolingian
minuscules and known as the 'floriacensis' after its
place of origin, the monastery of Fleury.
Together with a clearly related set of glosses in
MSS 165 and 167 of the same Library, these commentaries
have long borne the collective name Scholia Bernensia.
Central to my thesis is the proposition that
commentaries were not copied and transmitted with the
same type of 'reverence' that was accorded to classical
literary works, but that they were constantly subjected
to modification, deletion and interpolation at the
discretion of the scholar or scribe who copied them, in
accordance with the perceived needs of those for whom
they were intended.
It follows, then, that the established methods of
textual criticism, by which an ancient and original
literary work is restored or established from the extant
manuscripts, cannot be employed in the handling of
commentaries and glosses, for no single antique original
may ever have existed. To put it another way, each
commentary may indeed be derived largely from original
sources, and they may well be legion, but it is itself a
new and unique composition assembled from a diversity of
sources of varying age and value, at the compiler's
discretion.
It further follows from all that has been said above
that the final printed edition of a commentary ought to
reflect something of the character of the manuscript (or
family of manuscripts) from which it is derived, that the
often composite nature of the manuscript version ought
not to be obscured, and that the modern editor ought to
resist the temptation to fabricate a coherent and
integrated commentary by padding it out with borrowings
from such as Servius, whenever echoes of the older and
respected commentator fall upon the ear. The modern
edition should, then, be closer in character to a
diplomatic version, for the precise nature of the text as
transmitted through the ages is of very much more importance
to the modern student of commentaries than to the
scholar whose primary interest lies in the classics themselves;
to the latter the actual process of transmission
will only ever be incidental.
This dissertation will also assess the evidence for
an Irish 'interlude' in the tradition of the Scholia
Bernensia and related commentaries, and in particular for
the now well-established proposition that an immediate
precursor of our commentary was one compiled by Adamnan,
Abbot of Iona (ob. 704), incorporating a body of material
which he in turn derived from Filargirius (or
Philargyrius), an otherwise unknown pagan commentator of
the putative Milan school.
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Arunachalam, Subbiah. "Letters to the Editor". 1999. http://hdl.handle.net/10150/105566.
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Coleman, Anita Sundaram. "Comments on Dalbello's Scholarly Editions, Historians' Archives, and Digital Libraries". 2006. http://hdl.handle.net/10150/106123.
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Emerson, Mark G. "Scholarly Edition of the Grand Tour Diaries of Frederick Douglass and Helen Pitts Douglass". Thesis, 2003. http://hdl.handle.net/1805/4974.
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Almonte, Richard. "A scholarly edition of Mary A. Shadd's A plea for emigration, or, Notes of Canada West". Thesis, 1996. http://spectrum.library.concordia.ca/144/1/MM18371.pdf.
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The goal of this thesis has been to provide a reliable edition of Mary A. Shadd's long-forgotten 1852 book A Plea for Emigration; Or, Notes of Canada West. Shadd was an abolitionist, teacher, editor, army recruitment officer, lawyer, advocate for women's rights as well as an immigrant to Canada from the United States who lived here between 1851 and 1864. This thesis follows conventions of editing embodied in editions published by the Centre for Editing Early Canadian Texts based at Carleton University. These conventions include an Editor's Introduction which provides biographical and literary context, as well as a complete editorial apparatus including explanatory notes, bibliographical description of copy-text and emendations. The editing of Shadd's book, it is hoped, will allow scholars and teachers to reassess the scope of writing by Blacks in the Canadian tradition, as well as establish Shadd as more than just a figure in history, but also as a writer whose works deserve to be read today.
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Finn, Patrick James. "Pre-codex to post-codex : editorial theory in the second incunabulum". Thesis, 2003. http://hdl.handle.net/1828/7918.
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This project studies the ways recent changes in cultural theory and information
technology are influencing the delivery of texts, and how these changes signal a need for
innovation in editing practice. The word incunabulum describes the material objects
produced in the early stages of the development of a technology; most commonly, it
refers to printing during the period just before the turn of the sixteenth century when
material textuality in the west was changing from a manuscript to a print base. According
to critics of digital culture like Janet Murray the current shift to digital media entails
many of the same changes. Following this, I will refer to this period as the second incunabulum.
Given the limitations of HTML and SGML markup and storage
technologies used in early digitization projects, scholars realize that the second
incunabular period, much like the first, will not be a simple linear change succession. Just
as the shift from manuscript to print involved a multifaceted series of complex social and
practical transformations over decades, our current technological transition generates a wide variety of communicative, cultural, and political implications. As a critical point of entry, the comparison of the first and second incunabular periods offers insight into the ways in which past practices can help us approach our textual future. As a broad study of highly particular textual practices, the current work presents something of a paradox.
However, through a series of focused historical readings and formal applications, this
trans-historical study provokes questions that may lead to effective new work in the field.
In Theories of the Text, leading editorial theorist D.C. Greetham points out the need to study the same three projects that I examine: William Langland's Piers Plowman, The Oxford Shakespeare,
and James Joyce's Ulysses. By examining the editorial practices
underlying each work, I develop a theory of editing based on a form of philological
critique that engages with problems faced by many current research projects and which
provides suggestions for further research.Graduate
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Howard, Ashley. "Florists and feasts: a critical digital edition of Ralph Knevet's Rhodon and Iris". Thesis, 2020. http://hdl.handle.net/1828/12115.
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One spring afternoon in 1631, the Norwich Society of Florists held a feast to celebrate and display its exquisite flowers. The celebration included an entertainment written just for the occasion—Ralph Knevet's quirky play about a war among flowers. Early modern florists were not the sort of people who sold cut flowers in shops; rather, they were experts in floriculture who applied this knowledge to cultivate new flowers. Norwich was already renowned for its gardens, but flowers soon became even more significant. Rhodon and Iris was performed just before tulipomania, a frenzy of tulip cultivation lasting from c.1634 – 1637. During this period, florists grew elaborate multi-coloured flower bulbs that sold for extremely high prices. In other words, the florists' feast and Knevet's play emerged when flowers were important to the economy and identity of Norwich.
My thesis presents an open-access, digital critical edition of Rhodon and Iris encoded in TEI-P5. This edition offers an old-spelling transcription of the 1631 playbook, a modernized text with annotations, and a critical introduction. Responding to the need for more editions of non-canonical early modern plays, my research widens the otherwise Shakespeare-centric canon and helps make more early modern drama accessible to student readers. Rhodon and Iris also merits critical attention on its own grounds: an example of Caroline occasional drama, the play experiments with convention and offers a rare glimpse into the Society of Florists. My thesis approaches the play with special interest in editorial praxis, ecotheory, and the history of floriculture. The florists' feast delighted audiences and participated in a tradition of floral celebrations—one reaching, at least, from the ancient Roman ludi Florales to the modern Netflix series The Big Flower Fight.Graduate
2021-06-26
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Dalbello, Marija. "Scholarly Editions, Historians' Archives and Digital Libraries: The Pragmatics and the Rhetoric of Digital Humanities Scholarship". 2006. http://hdl.handle.net/10150/105293.
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This is a submission to the "Interrogating the social realities of information and communications systems pre-conference workshop, ASIST AM 2006." The development and current uses of digital libraries and digital environments supporting humanities scholarship will be analyzed through the agency of disciplinary communities that are primary users of these resources. The pioneering efforts of individual scholars and digital humanities initiatives are an integral part of the history of the first generation of digital libraries. Significant collections of primary source materials shaped by scholars themselves point to the social nature and disciplinary shaping of technological development, in which domain specialists have become technology innovators. The proposed paper will survey exemplary scholarly editing and archival projects of the first generation from the point of view of their developers. The paper will also present an analysis of the literature of the digital humanities field in relation to that development. Future trends of shaping collections of primary sources for user communities in the traditional disciplines will be discussed as well.
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Baldi, Alberto. "“Una potenza lontana e misteriosa”. Il carteggio tra Ignazio Silone e la Arnoldo Mondadori Editore come knowledge site: tra digital scholarly editing e text analysis". Doctoral thesis, 2021. http://hdl.handle.net/2158/1237479.
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Il progetto di ricerca, che ha dato origine a un elaborato teorico-metodologico e al sito epistolariosilone.it, è nato dal proposito di sperimentare pratiche e risorse delle digital humanities nello studio e nell’edizione della corrispondenza di Ignazio Silone, nello specifico il carteggio con la Arnoldo Mondadori Editore, suo principale editore in Italia (per un totale di 419 pezzi epistolari, conservati nel Fondo Silone della Fondazione di Studi Storici “Filippo Turati” di Firenze e in vari fondi della Fondazione Arnoldo e Alberto Mondadori di Milano). Avvalendosi dei princìpi dello scholarly digital editing (e degli standard di trascrizione XML-TEI) e della text analysis (nella fattispecie, topic modeling e sentiment e polarity analysis), si è definito e attuato un modello di knowledge site editoriale che, con la sua infrastruttura e le sue funzionalità, trascenda il ruolo di ambiente digitale per divenire vero e proprio “luogo di conoscenza”, pur non venendo meno alle sue funzioni editoriali e di veicolazione del patrimonio archivistico. L’edizione elettronica del carteggio Silone-Mondadori così realizzata, pur concentrandosi su un corpus documentario definito e autosufficiente, si presenta come un primo momento di un possibile più ampio lavoro di edizione della restante corrispondenza siloniana (più di 10 mila unità epistolari solo nel Fondo Silone dell’archivio fiorentino) e, più in generale, di un’operazione finalizzata alla valorizzazione e alla diffusione (in ambiente digitale) delle carte dello scrittore.
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Komorowska, Magdalena. "Prolegomena do edycji dzieł Piotra Skargi". Praca doktorska, 2010. http://ruj.uj.edu.pl/xmlui/handle/item/41872.
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Poledňáková, Barbora. "Novela "Konec nylonového věku" z roku 1950 a její kritická edice". Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-328287.
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This diploma thesis deals with the novella The end of the nylon age written by Josef Škvorecký in 1950. It explores the text from a literary historical, literary theoretical and literary "practical", editorial point of view. After the introduction of author's work in necessary period and factual context the thesis focuses on the iterpretation of the novella, its narrative situation and the resulting structure of the text. The thesis then deals with dialogues and dialogic characteristics of the novella. The closing part pays attention to the textological issues - creating of an annotation system to the book. The novella is being related to other artist's work within each theme throughout the entire thesis.