Artigos de revistas sobre o tema "Novel 18th century Critical edition"

The article is devoted to identifying the features of the formation of Jean-Francois Marmontel as a writer, journalist and encyclopedist who made a significant contribution to the literary education of the French society. The relevance of the research topic is due to the study of the views of the scientist that influenced the reception of established and new literary genres of the 18th century. The research methodology is based on a narrative approach in the historiographical perspective, as well as a biographical (cultural-anthropocentric) method that reveals the writer's biography as a typical manifestation of the socio-cultural processes of the age of the Enlightenment. The use of these methods determined the novelty of the study, as it contributed to the consideration of the dynamics of the views of the French educator J.-F. Marmontel and the determination of the degree of his literary contribution to the development of new genres of the moralizing novel and the epic novel, as well as the French Encyclopedia (Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des metiers). It is proved that for J. F. Marmontel the task of the writer was to educate the reader through his introduction to “belle literacy” (belles lettres). The material of the study was the literary works of J. F. Marmontel in French and Russian: poetic works, moralizing stories, novels, including his articles on literature, published in the first edition of the Encyclopedia. An analysis of the content of the French writer's works shows that they are educational and critical in nature, since their author skillfully mastered many literary genres in practice.

Summary: Since the beginning of the 20th century, a new interest has arisen in the Catalan encyclopedist Ramon Llull, who lived at the turn of the 14th century. This new interest has become manifest in a new critical edition of his works and in editions of his novels and the mystical verses of the lover and the beloved that were translated into several European languages. The new academic interest also resulted in the foundation of institutes at the universities of Barcelona and Freiburg. This study aims to show that there have been German translations of the Aphorisms of the lover and the beloved since the middle of the 18th century that have been almost entirely neglected by scholars dealing with Ramon Llull. Translations of fragments of the above-mentioned work were done by Gerhard Tersteegen (1697–1769) and Gotthard Ludwig Theobul Kosegarten (1758–1818); the first complete translation by a roman-catholic priest in Bavaria, Nikolaus Casseder (1767–1823), dates back to the beginning of the 19th century. [Keywords: Llull, Tersteegen, Kosegarten, Casseder, Llibre d’amic e amat]

This contribution offers a new, critical bibliography of translations and editions of the five extant Greek romances in the early modern era, from the beginning of printing to the eighteenth century. By consulting catalogues of libraries, digitalised copies, and secondary literature, I expand, update and correct earlier bibliographies. I identify alleged editions and include creative treatments of the texts as well as incomplete versions. As an interpretation of my survey, I give an overview of broad, changing tendencies throughout the era and filter the dispersion over Europe in a wider area and period than was available so far, in order to get a more complete picture of their distribution. Furthermore, I point to some peculiar (tendencies in) combinations, among the lemmata themselves, as well as with other stories.Kirsten Ricquier studied Classical Philology at Ghent University (Belgium). She is currently a researcher at this institution funded by the European Research Council Starting Grant Novel Saints under the supervision of Professor Koen De Temmerman. Her research concerns the afterlife of ancient prose fiction in medieval Greek hagiography and the early modern era, the classical tradition (particularly in the long 18th century), and genre theory.

AbstractThis paper presents a critical edition of Mordecai Qazaz's poem Adam oglu 'Man's son' written in Crimean Karaim probably at the end of the 18th century. It was published in 1841 under another title by Jacob Firkovich who did not provide the name of its author. This publication has not yet been examined. It is only now that we can identify it with Adam oglu. In the present edition, the text is edited on the basis of four manuscripts and the printed edition. Attempt was made to established the basic form of the poem and discuss language features.

The Khoekhoe language, a member of the Khoisan family, was widely spoken by Southern Africa pastoralists and hunters-gatherers a few centuries ago. Apart from varieties still spoken in the 20th century (such as Nama in Namibia), very little is known of the dialect spoken by the Cape Khoekhoe. This paper is a critical edition of four manuscript wordlists collected at the end of the 18th century by Robert Jacob Gordon, then commandant of the Dutch garrison at the Cape. These lists refer to several local varieties ofthe Cape Khoekhoe language, collected just before it became extinct, and display two distinct systems of clicks rendering.

Abstract This article presents a critical edition and study of a 17th/18th-century poetry collection that had previously been mistaken for al-Ṯaʿālibī’s lost Kitāb al-Ġilmān. It provides a codicological analysis of Berlin MS Wetzstein II 1786 in which the poetry collection is contained and also explains and corrects long-held misconceptions regarding al-Ṯaʿālibī’s connection with the text. Finally, the article situates this poetry collection in the context of Mamluk- and Ottoman-era epigram anthologies and the critical apparatus to the edition demonstrates the key features of intertextuality and popularity that characterised these poetry collections.

The article deals with the oldest music-related documents from the Morawetz collection (most of which come from the collection of Friedrich Donebauer), which the Czech Museum of Music obtained in 2003 and 2008. Specifically, this involves letters of musicians from Bohemia who were working in German-speaking countries around the end of the 18th century and the beginning of the 19th (Jiří Antonín Benda, Leopold Koželuh, Antonín František Bečvařovský, and Jan Václav Hugo Voříšek). The study presents a critical edition of six letters and one receipt and their translations into Czech and English. On that basis, there is an examination of context within the framework of the lives of the individual musicians and of the period musical milieu. The letters document cultural exchange, tastes, and the stylistic orientation of the period as well as of the music business in Europe at the end of the 18th century and the beginning of the 19th. Voříšek’s letter documents the period reception of a Mass by Jan Václav Tomášek in Vienna in 1815.

For the first time, the reader is presented with a critical text of one of the most important doctrinal works of the Druze community, well-known as “Druze Catechism”. Based on three versions of the “Catechism” (J.G. Eichhorn’s edition, Ms. Ar. 185 from the collection of the National Library of Israel, manuscript Cod. arab. 225 from the collection of the Bavarian National Library), the publisher reconstructs the primary source with brief commentaries. The work is preceded by a short preface, revealing the textual and philosophical-religious history of the anonymous Druze work of the 18th century.

Abstract This study offers a linguistic description of the idiom of the Jews of the Comtat Venaissin (“Judeo-Provençal”) at the end of the 18th century, based on a critical edition of the only relevant document illustrating this language, a theatrical play in verse entitled Harcanot et Barcanot. The introduction provides a philological inventory of all known sources of “Judeo-Provençal.” The critical and variorum edition of the text, accompanied by linear glosses in English, is followed by a commentary comprising a glossary and analysis of all relevant linguistic features. It reveals, inter alia, that this language possessed words pertaining to the linguistic repertoire of French Jews since the Middle Ages; as for the phonetic features of the Jewish dialect of Provençal, their etiology is to be found in the history of the communities. The study concludes with a reassessment of the nature of linguistic variation in the dialect of the Jews of Provence.

During the 18th century, life was unpleasant and disturbing due to the Horrible Plague and the Great Fire that attacked England and turned the English society upside down. There was a big gap between the rich and the poor. Violence and crimes were everywhere. However, along with all the misfortunes, 18th century was also a period of elegance for England. Education flourished, and the novel genre developed impressively along with fine music and theatre performances. During these times, the rich led a luxurious life, while the poor in extreme poverty hardly preserved their miserable existence. The whole atmosphere was that of contrasts between brightness and staleness, wellness and sickness, abundance and insufficiency, virtue and vice, along with charity and selfishness which, combined with other characteristic features of the English society, created a chaotic situation. Henry Fielding’s novel, The History of the Adventures of Joseph Andrews and his Friend Mr. Abraham Adams, often called Joseph Andrews artistically mingles all these contrasts on different levels of different aspects of life, depicting the age he lived in while giving credit to the poor and the abandoned, making the good successfully triumphant and the bad miserably overwhelmed until at the end he makes his characters reach poetic justice punishing the vicious and rewarding the virtuous. The article aims at revealing the chaotic situation of the 18th century England through H. Fielding’s novel in question and the writer’s critical attitude to it.

Unknown Fugues from the Manuscript L 1636 of The Diocesan Library in Sandomierz The aim of the article is to present the content of the unknown manuscript L 1636 of The Diocesan Library in Sandomierz, with particular emphasis on the fugues contained therein. A closer acquaintance with the manuscript, dated around 1725, allowed to enrich the image of the musical culture in Poland in the first decades of the 18th century. The text is divided into three parts: 1. Description of the source; 2. Manuscript’s contents; 3. Conclusions from the analysis of the fugues from the manuscript PL-SA L 1636. The article is also accompanied by an appendix containing a critical edition of the fugues from the described manuscript.

В статье автор анализирует литературную практику на основе материалов популярного либерального издания «Эдинбургского обозрения, или критического журнала». Это было издание, специально посвященное критическим обзорам книг, вышедших в Британии, Париже, Берлине и других городах мира. Их тематика охватывала широкий круг тем по политике, экономике, общественным пробле-мам и истории. Рецензии освещали либеральный взгляд на историю в контексте идей Просвещения. Авторы обзоров восприняли теоретическое осмысление исторического процесса шотландскими просветителями. Они предполага-ли, что все люди в своем развитии проходят одни и те же стадии: дикость, варварство и цивилизацию. В контексте идей о стадиях развития рецензенты рассматривали труды, где говорилось о путешествиях, встречах с иной культурой чиновников, миссионеров и военных. При несовершенстве предложенной схемы вслед за авторами книг рецензенты оценивали уровень развития народов и племен, населявших Африку, Америку и Азию. Как правило, они относили их к стадии дикости и варварства. Полагая, что британцы до-стигли высшего уровня — цивилизации, авторы ряда книг и рецензенты выдвигали планы по цивилизации этих народов. The author analyses the literary practice liberal edition “The Edinburgh review, or critical journal”. It was original special edition with review of books from Britain, Paris, Berlin and other towns of the world. Their problems spread all themes over economy, politics, civil problems, etc. and history from liberal opinions on them from enlightenment position. The authors of journal shared Scotland enlightenment’s theo-retical opinion about historical development. They thought all people gone same stages: savage, barbarity and civilization. From that opinion the authors analyzes books wrote about travels meeting with another culture. As the author of books reviewers thought the tribes and people of America, Asia and Africa were at the stages of savage and barbarity. And Britons as civilized nation should bring civilization to them.

The edition of the schematics of the Łuck and Żytomierz dioceses, which is handed over to the readers, makes it possible to get to know the condition of the Catholic Church of the Latin rite in Volhynia at the end of 1831. This year is important historical censorship for the history of the Church in Russia. The Polish uprising, known as the November uprising, which started at that time, caused tsarist repressions that significantly limited the pastoral capacity of the Church, for example by liquidating monasteries and parishes. The prepared catalog edition has been divided into three articles. The first one contains a critical edition of the schematics of the Łuck and Żytomierz dioceses published for 1832, as well as information on the formation of the rules for the preparation of Łuck schematisms for printing from the mid-18th century to the outbreak of the November Uprising. In the second part, the administrative structure of the Łuck and Żytomierz dioceses, the condition of male and female monasteries in the diocese before their dissolution, and the history of Volyn churches will be presented on a schematic basis. In the third one, biographies of the clergy working in the Łuck and Żytomierz dioceses on the eve of the November Uprising will be published along with their speaking.

Out of 110 early printed Cyrillic liturgical Tetraevangelia, five were issued by the printing house of the Holy Dormition Pochaiv Lavra. All of them appeared in the 2nd half of the 18th century and were intended for the use in the Uniate, i.e., Greek-Catholic, Church. A text critical study of different texts from various parts of Tetraevangelia has suggested that the Gospel edition issued in Kyiv in 1746 was used by printers in Pochaiv to prepare their first liturgical Tetraevangelion. This publication is focused on the textual analysis of menologia present in early printed Cyrillic Tetraevangelia, with particular attention given to the saints and feasts, as well as verbatim correspondence of commemorations and liturgical rubrics. Its results allow to conclude that the first Tetraevangelion issued at the Holy Dormition Pochaiv Lavra in 1759, was prepared on the basis of the Gospel edition issued at the Kyiv Pechersk Lavra in 1746. Liturgical rubrics in the first Pochaiv Tetraevangelion were adjusted to the liturgical tradition of the Greek-Catholic Church. Four further Pochaiv liturgical Gospel editions copied, with some minor corrections, the menologion of the first one.

This study delves into the immediate critical response to Samuel Richardson‟s 1740 novel “Pamela,” which became highly popular for portraying a maidservant embodying peak levels of moral purity. Henry Fielding stands out as a significant critic of “Pamela,” and this paper scrutinizes his counter-narratives, “Shamela” (1741) and “Joseph Andrews” (1742). Fielding, along with other critics, perceived “Pamela” as a disruption to the established norms of master-servant and upper-lower class dynamics prevalent during the 18th century. Utilizing a variety of literary techniques, Fielding compels the reader to question the sincerity and integrity of their beloved character, Pamela. In his works, Fielding recasts Pamela as a strategic social climber, who is manipulative in her attempts to marry her employer. He meticulously unpacks Richardson‟s narrative to expose its artificiality and pretence. By aligning his narrative with Richardson‟s, Fielding seeks to instil skepticism among “Pamela” enthusiasts about the work‟s ethical soundness. Further extending his critique, Fielding introduced “Joseph Andrews” as a subsidiary narrative aimed at demystifying the elevated notions of virtue and moral purity

Abstract Traditional art music in the Ottoman Empire was essentially shaped by phenomena of transculturality. It can be assumed that dynamic cultural transfer processes took place between the cultural groups involved, including Armenians, Greeks, Jews, and Arabs, in addition to Turks, and that these processes are visible today through circumstantial evidence. Each cultural group has an individual-specific music-theoretical, as well as music-historical background, so that the cultural intersection of Ottoman art music is considered from different perspectives. Using Greek sources from the 18th and 19th centuries as examples, this contribution is devoted to the phenomenon of cultural translation that accompanies the transfer processes. The central question is whether and in what form the detailed information given on the pitch system can contribute to a better understanding of Ottoman music theory in the nineteenth century, and how it can be made useful for the critical edition of music practical sources from the period.

The aim of the article is to present the current state of editing sejmiks’ records from the lands of the Grand Duchy of Lithuania from 1566 to 1794. Although the first printed edition of Lithuanian (Vilnius) sejmiks’ resolutions took place as late as the end of the 18th century, in contrast to the lands of the Polish Crown, Polish historians took little interest in them in later centuries. A relatively large number of sejmik records were published in the 19th century by Vilnius Archaeographical Commission, but one should be extremely critical of these editions, as it was clearly commissioned to shape the picture of the Commonwealth (and especially the Grand Duchy of Lithuania) through the prism of political and confessional requirements. For Polish scholars of the past, on the other hand, it was primarily the Polish lands that were important and the situation was not improved by Poland’s regaining of independence in 1918. Therefore, I would like to present the views of some of these historians on the need for such editions (especially at the historians’ congress in Vilnius in 1935), their form and the achievements of editing sejm records in the 19th – 21st centuries, divided into volumes strictly presenting such records (published by the abovementioned Archaeographical Commission), occasional and incidental editions, and the achievements of Russian, Polish, Lithuanian and Byelorussian historiography. What are the already visible effects of the veritable explosion of editions of sejmik records in the last decade and what are the prospects? In which research centres have editing projects been undertaken and what are the teams carrying them out?

Se presenta la edición crítica de un trabajo, de naturaleza médica, publicado en 1735, y escrito por los doctores Thomas Exarch y Joseph Guiral. En sendos dictámenes, ambos doctores exponían sus ideas sobre el paciente Pedro Zermeño, aquejado de epilepsia. El trabajo expresa las ideas y el conocimiento que se tenía de esta afección en esos años, y también nos refleja el testimonio de una época, en una ciudad como Melilla y con unos personajes que llegaron a tener una gran relevancia en el campo de la Ingeniería militar española del siglo XVIII: Juan Martín Zermeño y Pedro Zermeño.It talks about the critical edition of a medical work that was published in 1735, and written by the doctors Thomas Exarch and Joseph Guiral. In these opinions, both doctors exposed their ideas about the patient Pedro Zermeño, afflicted of epilepsy. The work expresses the ideas and knowledge that was had of this illness in those years and it also reflects the testimony of an era, in a city as Melilla and with characters who managed to have a great relevancy in the field of the military Spanish Engineering of the 18th century: Juan Martín Zermeño and Pedro Zermeño.

En este artículo presentamos un análisis de la obra de Mme de Graffigny Lettres d’une Péruvienne (1747), novela que tuvo un éxito considerable en el momento de su publicación, aunque presentaba unas tesis altamente críticas sobre la situación de la mujer en la sociedad de la Ilustración. Situaremos nuestro análisis de la obra en el contexto de la novela epistolar francesa del siglo XVIII. Destacamos los elementos que consideramos innovadores en este trabajo en relación con el género al que pertenece. In this article we present an analysis of the work of Mme de Graffigny Lettres d'une Péruvienne (1747), a novel which was a considerable success at the time of its publication, although it presented a thesis on the situation of women in Lumière's highly critical society. We situate our analysis of the work in the context of the epistolary novel in France in the 18th century. We highlight the elements that we consider innovative in this work in relation to the genre to which it belongs.

RESUMEN: Este artículo pretende informar sobre la existencia y características de un manuscrito dieciochesco de la comedia hagiográfica La margarita del Tajo que dio nombre a Santarén, de la dramaturga barroca Ángela de Acevedo, que se conserva en el Arquivo Nacional da Torre do Tombo, en Lisboa. El documento, que incluye una noticia biográfica sobre la autora, resulta de interés porque aporta nuevos datos sobre la difusión de la comedia. Además, facilita la edición crítica de la obra, que hasta ahora se creía transmitida por un único testimonio: la fuente impresa custodiada en la Biblioteca Nacional de España. ABSTRACT: This paper aims to report the existence and characteristics of an 18th-century manuscript of the hagiographic play La margarita del Tajo que dio nombre a Santarén, written by Baroque playwright Ángela de Acevedo and preserved in the Arquivo Nacional da Torre do Tombo, in Lisbon. This document, which includes a biographical note on the author, is relevant because it offers new data on the circulation of the comedia. It also contributes to the critical edition of the play, which until now was thought to have been transmitted through a single testimony: the printed copy kept in the Biblioteca Nacional de España.

The purpose of the study is to consider the theoretical aspects of gamephymification as the latest educational technology; to analyze the practical application of this technology in the lessons in native literature in the basic school in the humanitarian classes. The article notes that the phenomenon of gameplay is based on three components: instant feedback; increasing the motivation of students to the studied subject; developing the ability to analyze the artistic text. The scientific novelty consists in an attempt to introduce into the practice of studying the 18th century visual novel as a way to increase the motivation of students to read the literary works of their native land; to determine the advantages of this approach in comparison with traditional methods of teaching literature in school. As a result reveals such advantages of this technology as development of students' creative approach to the analysis of texts and formation of skills of critical thinking, which are necessary for modern schoolchildren in real life.

In the critical literature devoted to the L.N. Tolstoy’s novel «War and Peace», the contradictory contexts of usage of the lexemes мiръ / миръ / мир and their relation to homonymy, were repeatedly discussed. The study is a comparative analysis of the contexts of usage of the lexems мiръ/ миръ / мир in Russian in the texts of the «War and Peace» novel by L.N. Tolstoy, as well as their translation into Spanish. The author refers to two editions of the novel - in 1912, before the spelling reform of 1918, and mid-20th century, as part of the 90-volume edition of the works of L.N. Tolstoy. The aim of the study is the comparative analysis of the semantics of the мiръ / миръ / мир in connection with the idea of the novel-epic. It is determined in what context and why L.N. Tolstoy prefers the lexemes of мiръ / миръ / мир , and also considered the use of the word глобус ‘globe’, meaning the ‘world’. The conclusions of the work are a proposal to introduce in the commentary to the novel interpretations of the meaning of the word peace in accordance with the context of the media world , in the curricula of students-philologists, as well as to take into consideration the data in translations into foreign languages, Spanish in particular,. Taking into account the specificity of semantics of words Mir and Worlds in the pre-revolutionary edition and the word world in the modern editions of the novel-epic «War and Peace» and their functioning with the literary text under the consideration contributes to revealing the idea of the multi-layered work, a special place in the artistic heritage of L.N. Tolstoy.

AbstractAbū al-Jūd Muḥammad ibn al-Layth is one of the mathematicians of the 10th century who contributed most to the novel chapter on the geometric construction of the problems of solids and super-solids, and also to another chapter on solving cubic and bi-quadratic equations with the aid of conics. His works, which were significant in terms of the results they contained, are moreover important with regard to the new relations they established between algebra and geometry. Good fortune transmitted to us his correspondences with the mathematician and astronomer al-Bīrūnī. The questions they debated, and the answers they yielded, all offer us multiple in vivo perspectives on the research that was undertaken in that period. The reader would find in this article a critical edition and French translation of this correspondence, with historical and mathematical commentaries.

The article offers a critical review of the Russian edition of the comic novel Footing it Along the Tōkaidō by an outstanding writer of the Tokugawa era (1603–1868) Jippenshya Ikku. Recently published by Saint Petersburg’s Hyperion, the novel was masterfully translated from Japanese by Anastassya Y. Borkina who thoroughly studied this complex observational comedy of manners or humerous book (kokkeibon) and provided the necessary analytical apparatus, including commentaries and a preface. The narrative develops around the adventures of two characters, Yajirobei and Kitahachi, who embark on a journey along the so-called Tōkaidō road, the most important of the routes of Japan, connecting Edo and Kyoto. They meet various personages from a variety of cities and regions as well as from different strata of society, getting themselves into farcical situations and every time finding their way out of comic conundrums. The road itself works as a central axis of the story, propelling the characters forward and offering diverse settings for their escapades. The novel with illustrations by the writer was especially popular in nineteenth century Japan, yet the adventures of Yajirobei and Kitahachi remain well-known up until today, providing inspiration for a trove of literary parodies, manga novels, anime books, and video games.

The article is devoted to the analysis of Francion’s dream from the point of view of the symbolic imagery, as well as to the problem of the existence of the novel “La Vraie Histoire comique de Francion” by Charles Sorel (1623–1633) in three editions. The events of the dream narrated by the main character are analysed, as well as the changes made to the text in the second and third editions – the removal and rearrangement of some episodes in order to adapt the text to the requirements of censorship due to the high-profile trial of the French poet and representative of the libertinage of the 17th century Théophile de Viau who was ideologically close to Sorel; the commentary of Raymond, which appeared in the second edition, which is a conditionally “correct” interpretation; the moralizing comment of “author”, embedded in the text only in the final version, as well as the indication in the introduction of his name – Nicolas De Moulinet sieur Du Parc, who died in 1625. In the process of analysis, we observe a change in the boundaries of the symbolic imagery of this episode under the influence of self-censorship, which are significantly narrowed in the third edition, leaving the reader much less space for critical examination and independent deciphering of the meanings inherent in the presented dream.

The article presents a study of the historical foundations of the chronicle novel ”The Vanishing Shadows. A Family Chronicle” by Valeriy Shevchuk. The attention is focused on the writer’s interpretation of historical events in the late 18th century. The social and ideological, discursive processes of the reproduced historical period are analyzed. An integral perception of the history of our country is presented in an inseparable connection between the past and the present. The critical moments in Ukrainian history were outlined as the background against which some urgent, vital problems of either a single individual or the whole ethnic group were shown. Particular characters are correlated with the historical figures, with historical truth being confirmed both indetails and in the general picture of represented reality. Special stress is placed on the artistic depiction of intrinsic motives of the members of the ancient noble family of Temnytskyi. The article discusses the issues of nation-building in the context of social destruction and imperial enslavement. We also propose a new paradigm of human spiritual existence that was inspired by Schevchuk’s work, and explore the ideas of national self-identification as a spiritual rather than caste community, and of the quest for national unity embarked on by intelligentsia as the leader of the nation.

The article examines the peculiarities of the Ukrainian scientific and critical reception and interpretation of P. Süskind's novel "Perfume". The relevance of the problem is that the novel by the German writer does not lose its meaning, but its perception is far from complete, and for most readers it is superficial. The work represents the "novel about an artist" genre, established by the tradition of European literature, which dates back to the end of the XⅤIII century, from the Bildungsroman genre model. The main feature of P. Süskind’s novel is intertextual saturation, thanks to which the most important philosophical problems are included in the work of a modern novelist not only the problems of the artist and art but above all the problems of the essence of man and his relations with the world, his creative power and responsibility for his actions. Techniques for portraying the main character, as well as all "background" characters are stylization, travesty, grotesque, caricature, etc. The novel reveals a postmodern view of the role of the artist and art, and also a postmodern concept of man and social development (the progress of science, moral values, changes in the relationship between man and nature, etc.). The fact that the main character is supposedly a person of a specific era is a hoax: the hero and his surroundings are similar to people of the 18th century no more than people of other centuries, however, it is important that the Age of Enlightenment initiated the concept of humanism, and the author ironically turns it over in the reader's perception through intertextual connections. He wanted to show an artist capable of mastering smells and creating an ephemeral perfect world from them, completely under his control. The spiritual and ecological issues of the novel are also important (because human creative activity affects the environment), and perfumery is an art closely related to production technology, as a result of which modern man changes the world beyond recognition, becomes a threat to its existence (and his own in it). Philosophical problems of the novel determined the choice of the hero, whose image overturns the humanistic ideal, in particular Rousseau's ideal. The ironic reinterpretation of traditional, axiomatic truths (for example: "genius and crime are incompatible", "man is the crown of creation", "man - it sounds proud", "art is eternal", "beauty will save the world", etc.) has a comprehensive character in the novel. But above all, the very phenomenon of man and humanity must be re-evaluated – the author calls into question the usual ideas about them in accordance with the spirit of postmodernism, which does not leave the right to illusions about the price of social progress and the evolution of human nature.

LABURPENA Artikulu honetan Bizkai mendebaleko xviii. mendeko testu baten edizioa eta hizkuntza- azterketa aurkezten ditugu. Bilboko eskribau-etxe batean 1770ean sortutako dokumentu judiziala da, eta Zollon (Bizkaia) ezagutarazteko prestatu zuten. Testuak euskararen corpus historikoko hutsune bat betetzen du, eta interesa du bai generoari dagokionez, bai alderdi geolinguistikoari eta historikoari dagokienez. Bada, lan honetan testua sortu zen testuingurua hobeto ulertzeko azalpenak, testuaren edizio kritikoa, testuko ezaugarri linguistiko nagusien azterketa eta hizkeraren filiazio linguistikoari buruzko proposamena ematen dira. RESUMEN En el presente artículo damos a conocer una nueva fuente para el estudio del euskera occidental del siglo xviii. Se trata de un documento judicial redactado en una escribanía de Bilbao en 1770, que fue preparado para ser dado a conocer en Zollo (Bizkaia). El texto, por lo tanto, viene a cubrir uno de los huecos existentes dentro del corpus histórico de la lengua vasca, y resulta interesante tanto desde el punto de vista del género textual como desde el de la geolingüística y la época. El presente trabajo presenta una introducción histórica que permite comprender mejor el contexto en el que fue creado el texto y una edición crítica del mismo. Además, analizamos los principales rasgos lingüísticos y proponemos una hipótesis sobre la filiación de la variedad lingüística atestiguada. ABSTRACT In this paper, we present a new source for the study of the 18th century Western Basque. It is a judicial document written by scribes in 1770 in Bilbao, and it was prepared to be exhibited in Zollo (Biscay). Therefore, the text comes to fill one of the gaps in the historical corpus of Basque, and it is interesting because of the textual genre as well as from the geolinguistic and chronological points of view. After a historical introduction, whose aim is to better understand the context in which the text was created, we present a critical edition. Furthermore, we analyse the main linguistic features and we propose a hypothesis about affiliation of the text’s linguistic variety.

The article discusses the reception of John Woolman's Journal (1774) in Theodore Dreiser's The Bulwark (1946). John Woolman was a prominent 18th-century Quaker minister and abolitionist, whose Journal, usually defined as a spiritual autobiography, is his most famous text. Since its first edition, The Journal has been highly acclaimed among American autobiography readers and critics. In 1939 it was reverently perused by Dreiser. Two decades earlier, in 1914-1920, the writer had produced drafts of his Quaker novel The Bulwark but had not completed this text, partly due to a certain ambivalence he felt toward the protagonist. The 1920s-1930s, meanwhile, were decades marked by Dreiser's arduous intellectual and spiritual search and extensive reading. Arguably, it was Dreiser's acquaintance with Woolman's Journal which played a transformative role in his decision to reshape The Bulwark. The novelist rejected the original satirical portrayal of the central character and expanded the timespan of the novel. The idea of Woolman's influence on The Bulwark has been maintained by several critics; however, it was mostly mentioned without much elaboration. G. Friedrich's article (1955) and D. Pizer's monograph (1976) have been the only studies to discuss the reception in more detail. This article corroborates Friedrich's and Pizer's findings and contributes to the associations established in prior scholarship. Besides, it endeavors to provide a classification of Woolman's reception indicators in The Bulwark. Comparative analysis of the two narratives reveals two aspects of Woolman's reception in The Bulwark. The first aspect is associated with The Journal introduced to the plot as a book that accompanies the characters throughout their lifetime and is perceived differently by them in different periods. The Bulwark contains four explicit references to The Journal. Whereas it is a “desk companion” for the protagonist, Solon Barnes, the younger generation tends to perceive The Journal as an irrelevant, outdated text. The novel's final chapters emphasize the significance of Woolman for the characters. The second aspect of reception appears to be manifested in the numerous associations between the figure of Solon Barnes and the Journal autobiographical hero, their relatedness being suggested by psychological similarities as well as the novel plotting. The article argues that The Bulwark contains at least nine allusions to The Journal. These allusions may be discovered (1) in the chapters narrating Woolman's and Barnes's early years, (2) in the depictions of their worldviews, (3) in the motif of “intuitive communication”, (4) in third-person self-reference used by the two characters in the final chapters. The article concludes that the “personal spiritual drama” of Solon Barnes is composed by Dreiser with a considerable number of direct and indirect allusions to Woolman's autobiography.

The article deals with the emergence, development and blooming of the letter genre in European cultural history until the middle of the 20th century. The oldest letters that have survived to our time date from the 3rd-2nd centuries BC and are written in cuneiform. The first major heyday of the literary genre was in the time of ancient Rome, when both politicians and philosophers exchanged letters, but also several writers used the letter form in their works. The so-called canon of letter writing was formed in the Middle Ages, when the art of letter writing began to be taught at the universities. In the 17th century, letter writing manuals and private letters began to be published in books, and in the 18th century it was already very common. The growing popularity of communication by letters is also shown by the fact that in the middle of the 18th century, when English writer Samuel Richardson published three novels in the form of letters, the epistolary novel was born. In the epistolary novels, for the first time the world of feelings and thoughts of the characters was under observation. At the end of the 19th century, communication by letters increased drastically due to the wider spread of literacy throughout Europe. The writing of letters intensified during the First and Second World Wars, which is considered the last major blooming of the letter genre. This fact is also confirmed by studies on the development of the written communication tradition in Estonia. The article also provides a brief overview about the research and publication of private correspondences in Estonia. In the middle of the 20th century, the Estonian Literary Museum began to systematically deal with the autobiographical heritage (incl. letters) of those persons who had a prominent position in cultural history. In 1984, the serial publication Litteraria: eesti kirjandusloo allikmaterjale (Litteraria: Estonian Literary History Source Materials; since 2005 Litteraria: Estonian Cultural History Source Materials) was founded with the aim of making correspondences, but also various biographical notes, photographs, etc., available to the public. Litteraria has never been published regularly; nevertheless, by 2023 the series had published already twenty-eight issues, which are now also available online (https://www.kirmus.ee/et/teadus/e-litteraria). In 1998, Tuna: Ajalookultuuri ajakiri (The Past: Journal of Historical Culture) came out on the landscape of social science and humanities journals. The new journal included the rubric “Estonian Cultural History Archives”, which allowed the researchers to regularly publish archival sources with commentary four times a year. Over the years, several voluminous text-critical publications of correspondences have been published in parallel with the issues of Litteraria and Tuna, for example, “Akadeemia kirjades” (“Academy in letters”, Olesk 1997), “Minu lamp põleb” (“My lamp is on”, Annuk & Metste 2015), and “Kallid krantsid: Kirjad vangilaagritest ja asumiselt Siberis 1946–1954” (“Dear friends: Letters from prison camps and deportation sites in Siberia 1946–1954”, Kross 2021). The published correspondences have a different historical background, but the common feature of all the authors of the letters is their close connection with Estonian literature. Several historians, literary scholars, cultural historians, folklorists, and philosophers have used private correspondences as source material for their in-depth studies. The analysis of scientific articles of the last decades shows that letters are useful primarily as a source of information that helps to open the hidden aspects of some cultural-historical phenomenon or historical event, for example, the world wars. In addition, different aspects of epistolary practices are also analysed, such as the peculiarities of means of expression, communicativeness or intersubjectivity of letters, etc. Until the turn of the century, prominent creative figures in Estonian cultural history dominated among the authors of the letters used in the studies. In recent decades, a new trend has emerged which shows that researchers have begun to pay more attention to, for example, the love letters and war letters of ordinary people, as well as letters in which the writer shares with the addressee various information about joys and worries of everyday life.

The paper presents a 17th-century translation of the Satyricon into Italian transmitted in manuscript. The translation is anonymous and presumably was intended for the illegal market of clandestine manuscripts. Material evidence shows that the translation actually circulated across time and among popular readers. The comparison between the Italian translation and 16th – and 17th editions of Petronius has revealed that the translator started his work on the obsolete text of the excerpta brevia (that is, the Satyricon as published before1575) and then shifted to the the excerpta longiora tradition, likely using the Satyricon edition published in 1601 (reprinted in 1608). Such a mixture of source texts proves the translator’s total lack of philological accuracy. In addition, he made several translation errors. However, surprisingly enough, the Italian translation underpins an excellent work of textual criticism on Petronius’ text. The suggested explanation is that the translator or a later reviser emendated the translation following a highly specialised commentary. Some translation errors, in fact, can be explained only as critical indications that have been completely misunderstood. The papers concludes putting in relation the success of the Satyricon among 17th-century popular readers with its reception as a subversive parody of the Greek novel and its traditional values.I have a PhD in Italian Studies (2006) from the Università RomaTre of Rome. Currently, I am a Marie Curie Research Fellow at the EHESS in Paris. My recent research interests are focused on the Early Modern Period; more specifically, on the translation and receptions of Classics and the circulation of heterodox texts. I am working at the research project Popular readers and clandestine literature: the case of an early modern translation of Petronius’ Satyricon into Italian (17th C.) funded by Marie Skłodowska-Curie Actions, and, more broadly, I am exploring the 17th-c. success of the Satyricon and its reception as a novel and as a satire.Affiliation: Post-doctoral Research Fellow at the Centre des Recherches Historiques of the EHESS in Paris (research group: Grihl – Groupe de Recherches Interdisciplinaires sur l’Histoire du Littéraire ).Relevant publications:‘La retorica dell’esperimento: per una rilettura delle Esperienze intorno alla generazione degl’insetti di Francesco Redi (1668)’, Italian Studies (2017), 72, 1, 41-56.Bartolomeo Beverini (1629-1686) e una versione inedita della Metafisica di Aristotele’, in L. Bianchi, J. Kraye and S. Gilson (eds), Vernacular Aristotelianism in Italy from the Fourteenth to Seventeenth Century, London, The Warburg Institute, 2016, 183-208.‘Freedom and censorship: Petronius’ Satyricon in seventeenth-century Italy’, Classical Receptions Journal (2014), 6. 1, 104-130.‘Con oscurità mutando in nomi: Napoli epicurea nei Successi di Eumolpione (1678)’, California Italian Studies (2012), 3. 1, https://escholarship.org/uc/item/2tr7x1nd.

The paper presents a 17th-century translation of the Satyricon into Italian transmitted in manuscript. The translation is anonymous and presumably was intended for the illegal market of clandestine manuscripts. Material evidence shows that the translation actually circulated across time and among popular readers. The comparison between the Italian translation and 16th – and 17th editions of Petronius has revealed that the translator started his work on the obsolete text of the excerpta brevia (that is, the Satyricon as published before1575) and then shifted to the the excerpta longiora tradition, likely using the Satyricon edition published in 1601 (reprinted in 1608). Such a mixture of source texts proves the translator’s total lack of philological accuracy. In addition, he made several translation errors. However, surprisingly enough, the Italian translation underpins an excellent work of textual criticism on Petronius’ text. The suggested explanation is that the translator or a later reviser emendated the translation following a highly specialised commentary. Some translation errors, in fact, can be explained only as critical indications that have been completely misunderstood. The papers concludes putting in relation the success of the Satyricon among 17th-century popular readers with its reception as a subversive parody of the Greek novel and its traditional values.I have a PhD in Italian Studies (2006) from the Università RomaTre of Rome. Currently, I am a Marie Curie Research Fellow at the EHESS in Paris. My recent research interests are focused on the Early Modern Period; more specifically, on the translation and receptions of Classics and the circulation of heterodox texts. I am working at the research project Popular readers and clandestine literature: the case of an early modern translation of Petronius’ Satyricon into Italian (17th C.) funded by Marie Skłodowska-Curie Actions, and, more broadly, I am exploring the 17th-c. success of the Satyricon and its reception as a novel and as a satire.Affiliation: Post-doctoral Research Fellow at the Centre des Recherches Historiques of the EHESS in Paris (research group: Grihl – Groupe de Recherches Interdisciplinaires sur l’Histoire du Littéraire ).Relevant publications:‘La retorica dell’esperimento: per una rilettura delle Esperienze intorno alla generazione degl’insetti di Francesco Redi (1668)’, Italian Studies (2017), 72, 1, 41-56.Bartolomeo Beverini (1629-1686) e una versione inedita della Metafisica di Aristotele’, in L. Bianchi, J. Kraye and S. Gilson (eds), Vernacular Aristotelianism in Italy from the Fourteenth to Seventeenth Century, London, The Warburg Institute, 2016, 183-208.‘Freedom and censorship: Petronius’ Satyricon in seventeenth-century Italy’, Classical Receptions Journal (2014), 6. 1, 104-130.‘Con oscurità mutando in nomi: Napoli epicurea nei Successi di Eumolpione (1678)’, California Italian Studies (2012), 3. 1, https://escholarship.org/uc/item/2tr7x1nd.

Resum: La novel·la anònima Pierres de Provença ens arriba des d’un original francès escrit a mitjan segle XV passant per algunes traduccions castellanes i catalanes que van fer-se des de principis del segle XVI. Malgrat la poca atenció que li ha dedicat la crítica literària en general, les aventures del cavaller Pierres i la gentil Magalona han comptat amb lectors de forma continuada fins al segle XIX. Aquest relat cavalleresc és un dels pocs títols que conformen el catàleg de la prosa impresa en català en l’època moderna, i és, per tant, força convenient fer una adequada catalogació de les edicions per tal de confegir un cens acurat que permeta estudiar l’obra i bastir-ne una edició crítica. Hem pogut establir un llistat d’onze edicions verificades pels bibliògrafs, de les quals només se’n conserven nou. La cronologia de les edicions és, a hores d’ara, aproximada, exceptuant-ne les que fan constar la data d’impressió a la portada: 1650, 1683 i 1908. Paraules clau: Pierres de Provença, edicions, català, segles XVII-XVIII Abstract: The anonymous novel Pierres de Provença has come to us from a French original written in the mid-fifteenth century through some of the Spanish and Catalan translations carried out since the beginning of the sixteenth century. Despite the little attention that it has received from most historians of literature, the adventures of the knight Pierres and the beautiful Magalona have had readers uninterruptedly up to the nineteenth century. This short chivalric story is one of the few works that make up the catalog of the Catalan prose of the modern period, and therefore it is quite convenient to make a thorough cataloguing of the editions made in order to establish an accurate census that allows to study the work and build up a critical edition. We have been able to establish a list of eleven editions verified by the bibliographers, of which only nine have been preserved. The chronology of most of the editions is, by now, just approximate, except those that have a specified date print on the cover: 1650, 1683 and 1908. Keywords: Pierres de Provença, editions, Catalan, XVII-XVIIIth centuries

The purpose of the paper is revealing the peculiarities of Voltaire’s views on the last stage of the Northern War, ended by the Treaty of Nystad, as well as presenting the specific character of the great enlightener’s evaluation of the Russian empire and its historical role. The author finds out, why Voltaire, condemning fascination with the history of wars and kings, in his two works: «The History of Charles XII» and «The History of the Russian Empire under Peter the Great» paid great attention to the Northern War and Peter I’s participation in it.The reasons of the French historian interest to the named subject are viewed in terms of the modern methods of historical analysis, «philosophical» basis of his views on war and civilization, features of historical presentation.The paper shows Voltaire’s change in attitude on interpretation of the military historical subjects, first covered in «The History of Charles XII» and then in «The History of the Russian Empire under Peter the Great». The focus of the paper is on the up to the present-day controversial issue, whether Peter I was involved in Gorth–Alberoni conspiracy, aimed at the complete political change in the appearance of Europe. The 18th century historian ultimately came to the conclusion that the Tsar had made use of Gorth’s plans as a tactic means for solving his own foreign policy problems. This point of view is shared by many contemporary historians. Peter I’s declaring Emperor was the direct consequence of victorious end of the Northern War. It was found that Voltaire drew a more optimistic picture of Peter I’s imperial title recognition, than it actually was. According to Voltaire, the specific feature of the Russian Empire, created by Peter I, lies in the fact that it was a self-civilizing empire, bringing enlightenment on the neighboring «barbaric» peoples.The author of the paper, reviewing specific cases, arrives at a conclusion, that Voltaire’s works of high confidence for their time took a worthy standing in the world historiography of the Petrine era, due to a wide range of sources, the historian’s ability for their critical assessment, his seeking to maintain a certain evaluation independence in the description of events from different perspectives, his commitment to historical truth, his talent of a writer.The work is carried out within the project, aimed at publishing a first complete scientific edition of «The History of the Russian Empire under Peter the Great» in Russian.

Abstract Blest Gana at 100 is a special edition for Open Cultural Studies. Alberto Blest Gana was a Chilean writer who wore many hats during his long life, dying in 1920 at the age of 90. One of the most prominent authors of nineteenth-century Chile and Latin America, he went to military school and later held political and diplomatic appointments, all of which caused him to travel and live abroad. In fact, nel mezzo del cammin of his life, Blest Gana transferred to Europe and eventually settled in Paris, never to return to his country of birth. His fiction and non-fiction conveyed a vast array of experiences and insights from his life in Chile and overseas. To commemorate the 100 years since his death, contributors to Blest Gana at 100 approach his oeuvre from innovative and fresh scholarly angles and thus generate new perspectives on the Chilean author’s most celebrated texts, such as Martín Rivas and El ideal de un calavera. They also examine the early days of his literary career; revisit critical scholarship on Blest Gana from the past; bring less explored texts, such as Mariluán and Los Trasplantados (the latter written and published in Paris) to the foreground; research the background to his work as a columnist and discover the extent to which it informed his literary career; and examine the urban social practices in Blest Gana’s award-winning novel La aritmética en el amor. From these analyses, we hope to foster an ongoing conversation of lively and invigorating Blest Gana scholarship.

Rediscovered burial mounds in northern Jutland – a cartographical surveyIn 2005-07, archaeologists from the Historical Museum of Northern Jutland carried out an inspection of those burial mounds still visible and protected (scheduled) under Danish cultural heritage legislation. Scheduled burial mounds were the main focus, but new – or rather forgotten – mounds were also observed in the forests (fig. 1). These observations prompted a preliminary study of a small area, which revealed that a large number of burial mounds, hitherto unrecorded in the national archaeological database, Sites and Monuments – Fund og Fortidsminder, are marked on historical maps. This was especially true of the first cadastral maps, known as Original 1 maps, on which a large number of these monuments are marked. But the first edition topographical maps, known as Høje Målebordsblade, also show mounds that are not included in the national database. A major study was initiated in 2008 and the mounds marked on the earliest cadastral maps were recorded, leading to an increase of 33 % in the numbers mapped. This article is a source-critical examination of the use of these maps.The survey area corresponded to the archaeological area of responsibility of the Historical Museum of Northern Jutland and comprises 8% of the total land area of modern Denmark. Information on land-use in historical times can be obtained from the Danish Royal Academy of Sciences and Letters’ manuscript maps, i.e. Videnskabernes Selskabs konceptkort, which date back to the late 18th century. The survey area covered both coastal and inland regions and a great variety of vegetation types could be observed – including marshland, heathland and sand dunes (fig. 2).In the late 18th century, several agricultural reforms were initiated, leading to substantial changes in the cultural landscape. New fields were established and the implementation of the statutory instrument on road regulation of 1793 led to stones being robbed from nearby dolmens and burial mounds. This devastation of ancient burial monuments prompted the establishment of the Royal Commission for the Preservation of Antiquities, Oldsagskommissionen, in 1807, and shortly afterwards a total of 187 mounds and dolmens across the country became protected by law. To stem the continuing destruction, the chief curator of the Danish National Museum, J.J.A. Worsaae, launched systematic surveys of prehistoric monuments throughout the country in 1873. For many years, funding for these so-called “district surveys”, herredsberejsninger, was allocated in the Danish state budget. The surveys only came to an end in 1930, when all the ancient monuments in the country were considered to have been recorded. Most of the monuments in the northern parts of Jutland were recorded during the final decades of the 19th century (fig. 3). The surveys had two main aims: Firstly, to record all ancient monuments and sites still visible, as well as the locations of lost monuments still known to local communities; secondly, to locate the best preserved and most interesting monuments and persuade the landowners to protect these. The district surveys were carried out by the National Museum, and each parish was visited by an antiquarian and an illustrator. Due to the pressure of time, only one or two days were allocated to each of the smaller parishes and, given the contemporary infrastructure and modes of transport, it must be assumed that not all mounds were recorded. The burial mounds were marked on a map but, in a time before GPS, the location of many of them is far from precise. In 1937, a new act for the protection of ancient monuments was passed. The key issue in this legislation was that all visible monuments were now automatically protected by the law. Whether a monument was visible or not was to be decided by the Danish National Museum. In order to do this, all the monuments recorded in the district surveys had to be revisited. This took 20 years and resulted in a grand total of 23,774 monuments and sites across Denmark that were to be protected against future destruction.After some adjustments over the last 80 years, the ancient monuments database now lists a total of 6822 burial mounds in the survey area, of which 2970 are listed as protected monuments. The Sites and Monuments database thereby contains the accumulated records from archaeological surveys carried out over the last 200 years. The burial mounds could be listed under three categories: recorded mounds, unknown mounds and rediscovered mounds, obtained from the maps used in this survey (fig. 4).The first edition topographical maps published in 1842-99, the Høje Målebordsblade, are at a scale of 1:20.000 and the details available from these are both numerous and precise. The maps give a clear picture of the elevation of the terrain and the types of vegetation within a given area (heathland, marshland etc.). They also include most of those burial mounds still visible and thereby provide a detailed source of information on the number of monuments extant in the late 19th century. The accuracy of the mapping of mounds has been evaluated in recent times by way of GPS and shows remarkable precision. Traditional surveying techniques gave positions differing by only a few metres from those determined by modern methods. Approximately 75% of the known preserved mounds were marked on the maps (fig. 5). The mapping was contemporary with the Danish National Museum’s district surveys, but only limited degree of coherence can be observed between the two data sets. This inconsistency can largely be explained by two factors: The archaeologists’ survey was restricted to a few days in each parish and the National Museum wanted to obtain information about monuments no longer discernible in the landscape. In the present study, detailed investigation of the topographical maps yielded a total of 4166 burial mounds. Of these, 326 are not recorded in the Sites and Monuments database and should therefore be regarded as rediscovered mounds. In many cases, the maps contain additional information on the locations of other burial mounds, but these could be anomalies in the terrain contours (fig. 6).Large parts of Denmark were surveyed and mapped following the agricultural reforms of the late 18th century. This resulted in the first cadastral maps, the Original 1 maps, which were drawn at a scale of 1:4000 and therefore contain a great number of details, including much useful information for archaeologists: place names, soil quality, burial mounds etc. (figs. 7 and 8). Each map covers one cadastral district (ejerlav), and the total survey area comprises 608 of these districts. Unfortunately, the mapping was not standardised and not every surveyor used the symbols for burial mounds. Of the 2975 monuments still visible today, only 53% were included on the cadastral district maps, even though these monuments must have been visible 200 years ago (fig. 9). This discrepancy can largely be explained by the lack of standardisation in the mapping, and in some cases the surveyors simply mapped small squares of non-arable area within the arable land (fig. 10). In the present study, only mounds marked with a specific signature were included. Attention should also be drawn to another possible source of bias when working with these maps: They are not static. They were in use for several decades and changes in land ownership, parish borders, field taxation etc. were added to them. Each map therefore contains several layers, each of which represents a historical event. A comparison of the two series of historical maps, the mounds recorded in the Sites and Monuments database and the true position of the scheduled mounds, reveals some variation (fig. 11). With a few exceptions, the positions of the mounds are marked on the cadastral maps with remarkable precision (fig. 12). The present review yielded the location of 4875 burial mounds, 1785 of which were unknown – or rather had been forgotten – prior to this study, i.e. a 26% increase relative to the data in Sites and Monuments. The mound signatures absent from many of the maps indicate that the number of mounds must be considered an absolute minimum.The Venn diagram (fig. 14) shows that 2320 mounds are marked on both historical maps and included in the Sites and Monuments database, while 1689 mounds are only marked on the cadastral maps. The rediscovered mounds and known mounds are not evenly distributed relative to the land-use indicated on the Royal Academy of Sciences and Letters’ manuscript maps (fig. 15). These maps date from the late 18th century and show that more than half of the dry-land areas were used for agricultural purposes, while approximately one third was covered with heath. According to the historical maps, the majority of the known mounds in the Sites and Monuments database are situated on heathland, while only 30.6% are evident in agricultural areas. The rediscovered mounds are spread evenly across agricultural land and heath. If we turn our attention to the total number of burial mounds, heath areas are still over-represented. The differences between the percentages of land-use and the percentages of known burial mounds have come closer to equalisation with this study. This shows that mounds located near the farms would be at greater threat than those located on the outer margin of the fields. This is illustrated by the distance from the burial mounds to the boundary of the nearest settlement (fig. 16). According to figure 18, the lack of mounds in old agricultural areas results from a combination of land-use and the distance to historical farmsteads. A large proportion of the rediscovered mounds were positioned in the fields around old villages and they had been destroyed prior to the district surveys of the late 19th century. All the sources reveal a low occurrence of mounds in historical forests. This can be explained to some degree by the ancient forest Rold Skov, which can be traced back to the Mesolithic.Based on the numbers given in figures 15 and 18, an estimate can be arrived at for the original number of burial mounds. If we assume that the cadastral district maps without a burial mound signature contained the same number and distribution of mounds as maps with that signature and that, as shown by figure 18, many mounds had been destroyed on agrarian land prior to the mapping survey being undertaken, an increase of 6500 mounds would be expected on old agrarian land within the survey area.A study comparable to the present survey of northern Jutland was carried out in the western part of Jutland (Johansen & Laursen 2007). In this study, the burial mounds listed in the Sites and Monuments database were compared with the aerial photos from 1954 (known as Basic Cover). This resulted in a 32% increase in the number of mounds, relative to existing records, most of which were located on old open land.The digitalisation of historical maps, combined with the Sites and Monuments database, offers a unique opportunity to re-evaluate archaeological sources, resulting, in the case of the present project, in an increase of 30% in the number of recorded mounds within the survey area: A total which should, furthermore, be regarded as a minimum. In the first half of the 19th century, burial mounds located close to historical settlements were destroyed in order to clear land and increase agricultural output. The locations of most of these mounds were not recorded in the district surveys undertaken at the end of that century. In the second half of the 19th century, it was mainly monuments located on heathland that were destroyed, as these areas were improved in order to increase farmland. These more recently erased mounds were, for the most, recorded during the district surveys.Niels HaueNordjyllands Historiske Museum

On Grundtvig’s Thought and Post-Lutheran PhilosophyAn introduction to Danevirke IIBy William MichelsenGrundtvig’s considerations on the life of man in his periodical Danevirke (1816- 19) are the result of his critical reading of the major works in modern philosophy and in protestant theology since 1517. His criticism of the works can be found in Prospect o f World Chronicle Especially in the Age o f Luther from 1817; his own comments are presented in Danevirke. Inevitably the criticism has affected the comments, making them difficult to read today in our altered circumstances. Yet all philosophy and theology since Luther has seen itself in relation to the same works, though in most cases reaching a different conclusion from Grundtvig’s. It is three hundred years of thought he is concerned with.Grundtvig denotes the fundamental concepts in his thought with the words: Sense, Knowledge, and Made in G od’s Image. By “sense” he means the faculties through which we apprehend existence, both the outer existence and the inner: sight, hearing, and feeling. With their aid man already in childhood builds up not only his environment but also his self-awareness. Here Grundtvig ascribes the fundamental sense to feeling. Sight, he says, is both the faculty through which we receive images of the outer world, but also as the inner sense the faculty through which we create imaginative pictures of what we cannot see directly with the outer eye. Such pictures may be true or false, that is, illusions. When Grundtvig had his visions, he regarded the true visions as brought about by God, and the false as produced by “the Father of Lies”, the Devil. Hearing, the sense through which we perceive words and thus learn to speak, is for Grundtvig the basis of human reason, which he considers a faculty developed later and which could therefore under no circumstances be the basis of the human psyche.The creation of man in God’s image, as both the Old and the New Testament relate it, means that man is made to resemble his Maker, though from the outset he is in no way a complete image of God. Rather, he finds himself in a slow development towards this goal; a development that is still marked by the Fall. Grundtvig has given his first exposition of his thinking on the subject in the unfinished second edition of Brief Prospect of World Chronicle, the first edition of which appeared in 1812. These pages from 1814 are reprinted at the front of this edition of Grundtvig Studies.Grundtvig’s understanding of the old Danish word, vidskab, (knowledge) is as the intellectual superstructure of the sciences through which we form our world-view. He demanded of himself that his ideas should be understandable to every thinking person, and that they should be expressed in pure Danish without the loan-words constructed by philosophers. Naturally they should also be in agreement with common sense as well as classical logic. He paid no heed to Kant’s Critique o f Pure Reason, which is a major reason why he has been attacked for being unable to understand what he read and unable to think sensibly himself. Søren Kierkegaard chose a different tactic in his criticism of contemporary thought, but Kierkegaard’s tactic in no way changed Grundtvig’s views. Understanding Grundtvig therefore requires that one begins from the same starting-point that he offered his readers, even though posterity has called it naive realism.Part of fundamental experience, says Grundtvig, is that every person is both body and spirit, and that the bodily and the spiritual cannot be separated in the living person. He calls this permanent link between body and spirit man’s Self or Soul.Since man’s life is limited in time and moves in only a limited space, Grundtvig believes that time and space are also limited, are not endless. Man is not master of time and space; but he can imagine beings living an endless existence which is called everlasting. From this comes the idea of an everlasting life.Such ideas come into being through the Word, by which Grundtvig does not mean constructed sound symbols but something that the child learns from the other people it trusts. In this way man comes to trust the super-human word too: God’s Word. It is from this Word of God that the world man lives in and man himself are created. This idea is not the experience of the individual, however, but something which belongs to mankind’s, i.e. all men’s common experience, which Grundtvig calls History. No man has experienced the creation of the world, but ideas of it have been transmitted from man to man through history. Grundtvig calls his view of man and the life of man a historical view of man. However, he does not regard this view as science (videnskab) but only knowledge (vidskab). He also avoids the word “philosophy” in his thought because his view goes against the conttemporary misuse of the word.Grundtvig’s thought rejects every philosophy which claims to explain man and his existence solely through human reason and without regard to man’s limitation in time and space. Instead he maintains that we can only know human life through the experience of individual peoples and the whole human race, i.e. through History. This is the criticism he makes in the first of his “reflections”, which has the title On the Philosophical Century, a term that comprises the philosophy of the 18th century from Christian Wolf to Schelling.According to Grundtvig the task of philosophy and the sciences is to understand mankind. But when he contemplates man as an image of his Creator, he maintains that man knows what he is an image of, even though he cannot conceive it. He can only conceive himself. His task is to attain a true picture of himself - “to conceive oneself in Truth”. Grundtvig believes this means conceiving man as the inconceivable God has created him.In his criticism of the philosophy of the 18th century Grundtvig does not mention Leibniz. But in his World Chronicle from 1817 he does mention his Théodicée (1710). He admits that the defence of Christianity which Leibniz presents was built on the same logical foundation as his own view, namely the basic principle of contradiction. But he nevertheless claims that this foundation was an illusion. For Christianity exceeds all human reason, though it is not in conflict with it. And if one wishes to support Christianity with philosophical proof, one risks leading it to destruction: “Supports are ready to fall, and what rests on them wobbles when it is pushed. ” This was almost what happened when Leibniz’s pupil, Christian Wolf, built his system on Leibniz’s philosophy. And this is why Grundtvig’s criticism of 18th century philosophy begins with Christian Wolf.What is the core of Grundtvig’s criticism? What is the main purpose of this lengthy presentation, which appeared just as obscure to contemporary readers as it does to present-day readers, however willing they may be to follow him?Grundtvig’s criticism of “the philosophical century” is to the effect that man is attempting the impossible: to conceive who or what has created the world and man himself, God. This is impossible, if only because man is incapable of conceiving anything greater than himself and his existence, limited by time and space. He can imagine something greater but he cannot conceive it. He can believe in God and an everlasting life, but neither God nor everlasting life can he conceive philosophically.Man’s philosophical and scientific task is limited to understanding himself and his existence in time and space. And since he only knows his development up to the point at which he lives, he cannot achieve any systematic description or explanation of human life in its entirety, as that would require a development he does not know of.This is the core of Grundtvig’s thought and of his criticism of the philosophy of his time and of previous centuries. But it may well be difficult to perceive or deduce this from his first philosophical consideration in Danevirke, partly due to the polemical tone and the words and thoughts that are foreign to us, and partly because his way of thinking is disfigured by a terrible misprint in his criticism of this philosophy which was the basis of all contemporary thought. It is not especially Kant that Grundtvig singles out; he is attacking every philosophy which maintains that human reason can conceive a being which is created by itself, absolutely independent of anything else. He then continues: “... and what it cannot conceive it cannot itself be either, since reason is in no way outside (udenfor) as far as it conceives... - as if Grundtvig would argue against the idea that reason was “outside”. That is not his aim. The sentence only makes sense when the word udenfor is separated into its component parts: It then reads: “... since reason is not, unless it conceives; it is a concept, and in us a temporal concept which cannot possibly conceive anything eternal and unchangeable; and the self-dependent is eternal, the self-dependent living truth is unchangeable.”This was Grundtvig’s main assertion in the dispute over Schelling’s philosophy. It is extended here to cover the whole of “the philosophical century” and thus Kant’s philosophy too. God is and will remain inconceivable. One can believe in Him, but one cannot conceive Him. Religion can just as little be replaced as supported by philosophy. Grundtvig refuses to accept the philosophical artifice of turning time and space into categories of human thought (and thus in principle everlasting).Man cannot conceive eternal truth. But he can conceive that nothing can be true if it excludes man as he really is. For eternal truth has created man as he is.This is the use to which Grundtvig puts the basic principle of contradiction in his view of the relationship between reason and faith. He does not attempt to prove that God exists, or what faculties He has, or that He created the world and man. But he does maintain that whoever denies that God can create and has created the world contradicts himself. For man does exist, and has created neither himself nor the world - nor his own reason.Grundtvig goes no further in his application of the basic principle of contradiction in the essay. But he claims that he has the right to use it in his evaluation of men’s deeds throughout history; see also Henning H.irup's doctorate: Grundtvig’s View o f Faith and Knowledge (Copenhagen 1949).The purpose of this first consideration is not only to contradict contemporary philosophy but to make room for historical knowledge. Grundtvig elaborates his concepts in two other essays: On Historical Knowledge and On Developing the Chronicle in the same volume. His aim with all three articles - and with the periodical in general - was to marshal an alternative to the contemporary view that it was possible to adduce another ground for an understanding of human life than historical knowledge, that is, in a speculative natural philosophy. According to Grundtvig History shows that man is “a being in the process of developing himself’. He asserts that what is developing itself must already be present in man as “woven into” him. He himself cannot generate it, he must conceive it. God’s revelation as man does not mean that man has produced God, but that he is made in God’s image. So when Grundtvig speaks here of God’s “revelation in time”, he is not thinking of religious experiences but incontrovertible historical events.

Abstract. The article explores the image of I. Mazepa in the context of numerous sources devoted to the personality of the Ukrainian hetman in historical science, literature and music. The analysis shows that the ideas of the great Ukrainian in the works of art evolve: from a traitor to a patriot. If in the 18th – 19th centuries artists created this image being inspired by myths, then from the early 20th century and up to the present time the historical approach has been dominant. In this paper the author suggests performing aspect basing on the vocal and scenic image of I. Mazepa created by him on the stage of Kharkiv National Opera and Ballet Theater named after M. Lysenko. The interpretation of the extraordinary personality of the Ukrainian hetman gives the audience an opportunity to look at Mazepa from a historical perspective. It is noted that his image in this performance is not limited to a national vision, but acquires a universal character. I. Mazepa’s personality is of great interest to modern Ukrainians living both in their historical homeland and far beyond its borders. At present, contradictory assessments of Mazepa’s role in the chronicle of Ukrainian history require the establishment of historical and artistic truth. P. Tchaikovsky’s opera Mazepa is perceived as a fruitful material to search for a new interpretation of the image. It was first performed on the stage of Kharkiv National Opera and Ballet Theater named after N. V. Lysenko on July 2, 2017 to mark the 330th anniversary of Ivan Mazepa’s election as hetman of Ukraine. This fact gives a chance to bring into focus a relevant performing interpretation of the image of this outstanding figure in Ukrainian history. Among the numerous historians and literary critics cited in the article, we find a new interpretation of Mazepa’s image in contrast to music studies (N. Lupak’s dissertation). The method of analysis is conditioned by the creative practice of the KhNAOBTh and its own performance experience. The purpose of the study is to substantiate the reinterpretation of Mazepa’s vocal and scenic image in the production of the P. I. Tchaikovsky’s opera of the same name on the stage of KhNAOBTh named after M. Lysenko (2017) basing on the critical analysis of scientific historiography. The attitude towards I. Mazepa as a historical personality and a person has always been ambiguous. He combined the incomparable: on the one hand, he was a great military and political figure who fought for the creation of the Ukrainian state, on the other hand – a treacherous traitor; at his initiative, 26 Orthodox churches were created throughout Ukraine and, at the same time, he was an apostate devotee who took part in the destruction of Ukrainian cities and villages; a person capable of loving in the broadest sense of the word. He had everything that attracted and aroused great interest of writers, composers, artists, directors not only in our country but also far beyond its borders. And each author interpreted the image of Mazepa in their own way. In the 19th century, the image of the Ukrainian hetman fell into the area of artistic interests of M. Staritsky. He, like Voltaire and Byron, used the Western European legend of Mazepa in the novel “Mazepa’s Youth”, which was appropriate for its genre (historical-adventure). Naturally, the idea of “independent Ukraine” did not fit into Russia’s interests. In Tchaikovsky’s opera Mazepa (1883), based on A. Pushkin’s story (libretto by V. P. Burenin) everything is quite complex. It is important to note that many researchers of Tchaikovsky’s creativity believe that in Tchaikovsky’s Mazepa historical facts are sidelined while lyrical love scenes dominate. There were a number of questions when the image of Mazepa was ctreated in the original Ukrainian version of the opera on the stage of Kharkiv National Academic Opera and Ballet Theater named after N. Lysenko. The main one is how to maintain faithfulness not only to historical but also to the life’s truth? The times of the Hetmanate in Ukraine were silenced for about 300 years, and, in particular, the true life of one of its most famous representatives was unknown. But in order to create an image, it is important to know the smallest shades of your character’s psychotype. As the lyrical scenes of Mary and Mazepa are the central line in the opera, it is necessary to understand what kind of relationship they really had. Kharkiv stage directors of P. Tchaikovsky’s opera (director Armen Kaloyan and conductor People’s Artist of Ukraine Garkusha) sought to convey this very episode from the life of Mazepa, who openly loves his darling and suffers from having to cruelly deal with her father and hurt her badly. In addition, there was created their own version of the text (by Victor Marinchak, Svetlana Oleshko and Mikhail Barbara) and changes were made to the musical dramaturgy of the opera. The main idea of stage directors was to transform the content of the opera into another field – to reveal the image of the hetman as a significant figure in the history of Ukraine, which was much more important for Mazepa than the alliance with Peter I. The difficulty of creating a vocal and scenic image of Mazepa lies in its multi-vector character, which should not interfere with artistic unity and integrity: Mazepa-lover (in the tradition of Western European romanticism), Mazepastatesman (Ukrainian national tradition) and, at the same time, in the interpretation of Kharkiv theatre Mazepa-traitor had to be neutralized (an enemy that is characteristic of Russian imperial thinking). The motives of torments, sorrow and, along with this, the rebellious nature of the protagonist become considerable in the opera, rising to genuine symbolism. Thus, in the vast number of works dedicated to I. Mazepa, his image is not limited to the national framework, but acquires a universal significance. Conclusions. Analysis has shown the evolution of ideas about the great Ukrainian: from traitor to patriot and legendary hetman. If in the 18th century the image of the Ukrainian hero was interpreted in many ways by its creators on the basis of myths, then in the 20th – 21st centuries the historical approach prevails in understanding performing interpretation of Mazepa. The creation of a complex, extraordinary personality on the opera stage requires from the performer, in addition to knowledge of Mazepa’s vocal part, a thorough study of various axiological judgments. The above given interpretations of I. Mazepa’s image reflect the irreconcilable confrontation and “blood” belonging of one or another author to different systems of values of the worldview. Such interpretations indicate that the image of I. Mazepa is interpreted as a symbol, an archetype of the national opera tradition. Undertaking further study of the theme can involve performing analysis of Mazepa’s image on the stages of Kyiv and Odessa opera theaters with a view of understanding the performing principles when teaching young vocalists in the class of solo singing.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). 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London: Hamilton, Adams & Co., Retrieved from https://books.google.co.in/ books?id=QrwOAAAAQAAJ Wadia, A R. (1954). The Future of English. Bombay: Asia Publishing House. Wadia, B J. (1945). Foreword to K R Srinivasa Iyengar’s The Indian Contribution to English Literature. Bombay: Karnatak Publishing House. Retrieved from: https://archive.org/ details/indiancontributi030041mbp Webster's Encyclopedic Unabridged Dictionary of the English Language. (1989). New York: Portland House. Yule, H. and A C Burnell. (1903). Hobson-Jobson: A Glossary of Colloquial Anglo-Indian Words and Phrases, and of Kindred Terms, Etymological, Historical, Geographical and Discursive. W. Crooke, Ed. London: J. Murray. 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In the 14th–18th centuries Petrarch’s most widely disseminated work was De remediis utriusque fortunae. Petrarch’s Latin works had been known in Hungary since the 15th century and in the 18th century a real cult of De remediis can be traced, proved by the correspondence of contemporary aristocrats, scholars and politicians (e. g. István Brodarics, Farkas Kovacsóczy). His sonnets and the lines of Triumfi were often read, quoted, translated (e. g. by Bálint Balassi, Miklós Zrínyi); the Griselda, Boccaccio’s novel, known mainly in Petrarch’s Latin translation, also got translated into Hungarian (by Pál Istvánfi). His letters written in verse, as well as the Sine nomine collection, the Secretum and the De vita solitaria were certainly being read in Hungary. During the 17th–18th centuries Hungarian readers could get acquainted at first-hand with the name and works of the Italian humanist through the foreign printed editions of Petrarch’s writings. Writers, scholars, ecclesiastical leaders and others read and used these texts for both private and public purposes. In the 18th century De remediis was reedited eight times and its only complete translation so far was prepared between 1760 and 1762. The reception of De remediis is thus a highly important chapter in Hungarian spiritual history.

Within the research promoted by the collection “Recreaciones Quijotescas en Europa” whose aim is to disseminate critical editions and translations of rewritings or reassessments of Quijote by Miguel de Cervantes, three librettos of Italian operas from the first half of the 18th century have been published. The operas were performed at the Viennese court of Charles VI, where the poets Apostolo Zeno and Pietro Pariati, authors of the libretto Don Quixote in Sierra Morena, and Claudio Pasquini, author of Don Quixote in court of the Duchess and Sancio Panza governor of the island Barattaria, had been invited to work. In the essays preceding these editions, the specialists involved in the research describe the cultural and social environment the operas were intended for, deepen the relationships between Cervantes’ novel and the adaptations of the librettos, also commenting on their changes in the light of the new context.

AbstractThis article offers a critical edition of a handwritten and unpublished letter by the philosopher and mathematician Lazarus Bendavid. Created around 1805, the autograph is of great interest to the intellectual biography of the GermanJewish author as well as for the historiography of philosophy at the end of the 18th and the beginning of the 19th century. The text describes and evaluates the situation of philosophy in Germany after Kant's death in great detail, mentioning the names of no less than 30 philosophers. The following edition includes a reconstruction of the communicative situation that led up to the letter, especially the identification of its recipient, and a brief characterization of its content, the rendition of the transcribed text in a text critical form, a thorough comment on the mentioned authors and works, a methodologically oriented editorial addendum and an interpretative commentary in the spirit of constellation research.

(Rev.: The Herbarium of Robert Erskine, Archiater and Physician-in-Chief to Peter the Great / edited by A.K. Sytin and D.D. Slastunov. SPb, Lubavich, 2022, 375 p.) Summary: The book under review is the first critical edition of the Herbarium belonged to Robert Areskin, a fellow-fighter of Peter the Great, his Physician-in-Chief and President of the Apothecary’s Garden in Moscow. The Herbarium was created in 1709 and composed of plant species from the vicinity of Moscow. This is Russia’s first botanical collection of western type. The present critical edition is a part of the huge research project “From the Kunstkamera to Herbal Science. The Development of Botany in Russia in the First Half of the 18th Century” conducted by Komarov Botanical Institute of the Russian Academy of Sciences with the financial support of Russian Foundation for Basic Research. It demonstrates how productive the joint effort of botanists, historians, historians of science, librarians, archivists and museum custodians can be. The contribution of web designers, database developers and specialists in digital image processing neither can be underestimated. The review emphasizes the success of this interdisciplinary team and congratulates the editors on the way they revealed Herbarium’s scientific, historical and cultural value.

Abstract Background and Aims The study of intraspecific trait variation (ITV) in plants has a long history, dating back to the fourth century BC. Its existence was widely acknowledged by the end of the 18th century, although systematic and experimental studies commenced only a century later. However, the historiography of ITV has many gaps, especially with regard to early observations and visual documents. This note identifies an early depiction of plant ITV. Methods The botanical works of Johann Wolfgang von Goethe (1749–1832), a German writer and naturalist, were subjected to close reading. This included all publications and unpublished sources related to botany between 1785 and 1832 (e.g. notes, drafts, diaries, letters, drawings). This material is accessible in the multi-volume historical-critical edition of Goethe’s studies in natural science (Leopoldina-Ausgabe). Key Results A diary entry from 9 September 1786 described changes in leaf morphology along an elevation gradient in the Bavarian Alps. The leaves of an unidentified species of willow (Spix sp.) and gentian (Gentiana sp.) were said to become narrower with increasing elevation; leaves also stood further apart on twigs, and the latter became thinner. A crude drawing of two willow twigs illustrated the differences. Goethe conjectured that the differences were due to environmental conditions. Conclusions Goethe’s notes were anecdotal, and it is unclear whether the observed plant individuals actually belonged to the same species. Nevertheless, the notes represent an early and clear articulation of the hypothesis that changes in environmental conditions can cause ITV in a natural plant population. The drawing may be the earliest visual record of environmentally caused plant ITV in the wild.

ResumoO presente artigo explora a relação entre mulheres e romances, um tema bastante discutido ao longo dos séculos XVIII e XIX no Reino Unido em artigos de jornais, prefácios de obras literárias e resenhas críticas especializadas. Apresentarei alguns desses textos com o intuito de demonstrar como ideias sobre leitoras e autoras de romances foram constituídas no período, além de apresentar dados provenientes de histórias literárias feministas.Palavras-chave: Século XIX. Reino Unido. Romance. Autoria Feminina. História da Leitura.Women and prose, a dangerous gender and a dangerous genre: 19th century ideas on female readers and female writers in the United KingdomAbstract This article explores the relationship between women and novels, a theme that was intensely discussed in newspaper articles, preface to literary works and critical reviews throughout the 18th and 19th centuries in the United Kingdom. I will present some of these texts in order to demonstrate how ideas of women readers and women authors were constituted in the period, and present some data about this subject from feminist historiographies.Keywords: 19th Century. United Kingdom. Novel. Women Writing. Book History.Â

Every text, in addition to its main idea and notional framework, has a context that reflects the background of the milieu in which it was written. In this respect, it would be paid attention in the identity of the text, which waiting to be discovered like a hidden treasure within lines and reflecting its time, as much as giving importance to the sentences of the text. Adopting such an approach, in a sense, could contribute to a better understanding of the spirit of the text. In addition, this approach is of great importance in bringing the treatises that built our civilization, especially the stories of many manuscripts waiting to be revealed, to modern scholarship. Therefore, each step on this path of discovery makes an outstanding contribution to the understanding of the ultimate extent of our civilization’s history. This paper aims to take a step on this path by examining a manuscript that depicts the Ottoman scholarly environment in the 18th century. Both the critical edition of the treatise, Ilzām al-muʿānidīn wa-ibṭāl zaʿm al-ḥāsidīn, and its translation constitute the scope and focus of this paper. The paper also aims to have a general view of the historical context of the treatise and a concise analysis in light of this information. Later, it is aimed to let the reader be alone with the edited Arabic text and its Turkish translation by leaving her/him alone in this intellectual journey. Another reason for choosing the treatise is that it is related to ʿiṣmah al anbiyā (the infallibility of the Messengers of Allah), which is a highly sensitive issue of kalām in terms of both thematically and methodologically. Moreover, this subject is extremely meaningful in terms of the revelation-centered structure of kalam, the nature of the concept of Messenger of Allah, and the understanding of the issues formed around being a Messenger of Allah. Following both etymological and discursive evaluation based on classical sources (especially related to fiqh), the treatise discusses whether the Messengers of Allah are protected from the faint (ighmāʾ) or not. Its main question is whether the faint be considered in the context of ʿiṣmah al anbiyā or not. First of all, the author explains the reasons for writing the treatise in the introduction and then, underlines prominently the results in the conclusion. Both chapters may be the most significant parts in respect of reflecting the identity of the text. The given messages by determining the causal relations in these chapters provide significant clues about the conflict between the Kadizādeli and the Sivasī, which adversely affected the history of Ottoman thought, and emerged trends as a consequence of that. The most prominent theme is that it is highly recommended to adopt a moderate way to overcome the negative effects of the conflict that polarized many people. Ultimately, the treatise is an extremely important text in terms of being the first witness of a time period, in which one of the greatest turning points emerged in our intellectual history.

AbstractThe manuscripts and writings of the fifteenth-century astronomer and physician Lewis Caerleon (d. c. 1495) have been largely overlooked. To fill this gap, this article focuses on his writings and working methods through a case study of his canons and table for the equation of time. In the first part, an account of his life and writings is given on the basis of new evidence. The context in which his work on the equation of time was produced is explored in detail by reviewing the three key periods of his scientific production. His heavy reliance on Simon Bredon’s Commentum super Almagesti is also analyzed. The article also provides editions of Lewis Caerleon’s canons for calculating his table for the equation of time and a critical edition of Simon Bredon’s Commentum super Almagesti, III, 22–24. In the second part of this article, we analyze the table for the equation of time derived by Lewis around 1485. In addition to the final table, there is a unique table with intermediate results that records every step of his derivation. By following and discussing the details of this derivation, we shed a new light on tabular practices in mathematical astronomy. Following Lewis in his historical mathematical procedure, we argue, offers a novel historiographical approach that allows us to identify different sources and practices used by historical actors. Therefore, beyond the exchange of parameters residing in modern mathematical analysis, this novel approach offers a promising refinement for the analysis of the transmission of knowledge across space, time, and culture.

Back in the old days, the hunting and gathering period shaped the division of labor between men and women, the former being hunters, and the latter gatherers. While men were engaged in battue, i.e. herd hunting, women mostly hunted small animals and gathered plants to share tasks in society. Considering that battue often ended in failure, this period was indeed a time when mostly women covered their family’s food supply. Since women took on the task of care as well as gathering, they essentially had the most critical tasks of society during this period. As a natural consequence of this situation, society had a matriarchal structure. With the transition to a sedentary life and the subsequent domestication of animals, men took over most of the farming and livestock work on themselves. Thus, the means of production came under the rule of men. This led women to take care of their family and home, and restricted women’s space. Therefore, society underwent a transformation from a matriarchal to a patriarchal structure. On the other hand, women started to take their place in production again with the effect of the Industrial Revolution. They endeavored to rebuild their identity in the patriarchal order, to create a change in the social structure and thinking of society, as well as to make room for themselves in working life. Yet, from the 18th century onwards, the patriarchal social structure has maintained its dominance. In this social order, women’s struggle for social, economic and legal rights has been continuing without interruption. In her dystopian novel, The Handmaid’s Tale, Margaret Atwood addresses women’s issues, gender and cultural dogmas in patriarchal social structure. The novel investigates the place of women in society in the Republic of Gilead, as well as the patriarchal structure in a critical manner. In this context, this study is designed to explore the type of role that patriarchy casts for women in Atwood’s work, The Handmaid’s Tale, and to elaborate on how women are pressured by cultural patterns in this patriarchal structure.

Phonostylistic and Regional Variation of German Pronunciation in the Third-generation Orthoepic Dictionaries. By publishing the Deutsches Aussprache­wörter­buch (2009) and the seventh, completely revised and updated edition of the DUDEN Aus­sprache­wörterbuch (2015), two orthoepic reference works have thus far been released in the 21st century that in many respects add a new dimension to the current dictionary landscape in the field of German pronunciation. For this reason, we consider it justified to regard them as pronunciation dictionaries of a new generation. The two dictionaries to be discussed in this paper are remarkable for their novel editorial solutions and the unprecedented inclusion of a number of multimedia components. But more cru­cially, they present a changed, significantly expanded and more realistic understanding of the pho­netic standard that takes into account the phonostylistic diversity in German pronunciation. Furthermore, and no less importantly, they do also acknowledge, for the first time in German phonolexicography, the polycentric and polyareal nature of German by including the standard pronunciations of Austria and Switzerland, as well as their subnational or regional varieties, and making them subjects of description. These two fundamental innovations of both dictionaries receive a critical comparative examination in the present article. Keywords: phonolexicography, pronunciation codification, pronun­cia­tion dictionary, German pronunciation, standard pronun­ciation, phonetic standard, phonetic variation, phonostylistic variation, regional varia­tion, linguistic pluricentrism

Article deals with the attempt to describe the semantic �apacity of Fielding`s last novel �Amelia� that became the notable event in writer�s biography and remains the object of discussion among the researches starting from its first publication. Fielding was at the height of his fame as the magistrate for Westminster and Middlesex and as a celebrated novelist who was an opponent of Samuel Richardson. His novel �Tom Jones� (1749) despite some harsh criticism had been generally acclaimed. According to the title �Amelia� obviously differs from Fielding�s early novels: �Joseph Andrews�, �Jonathan Wild� and �Tom Jones�. With his central heroine Fielding has entered the territory associated with Richardson, whose distressed female characters, Pamela and Clarissa, had captured the attention of the reading public. It is well-known that Amelia Booth was modelled on Fielding�s first wife, Charlotte Craddock, while his hero, Captain Booth, was inspired be the author himself as well as his father, Lieutenant General Edmund Fielding. Trying to defend �Amelia� Fielding in the Covent-Garden Journal insists that he has followed the rules for the epic of Homer and Virgil, saying that the �learned reader will see that the latter was the noble model�. Like the �Aeneid�, �Amelia� consists of twelve books, and the opening section of the novel, set in Newgate, is a parallel to Virgil. The author being in the heyday of his glory brought before the public his new, experimental text, giving up the form of comic epic poem in prose that was immortalized in �The History of Tom Jones, a Foundling�. Denying the technique that was deeply rooted in the English prose due to the narrative skill and the omniscient author (who acted as theorist of the novel), theatrically performing the game with the reader through metanarrative, Fielding in �Amelia� prefers restrained position of the narrator using the recourses of dramatical art. Choosing the plain plot about the everyday difficulties, poverty and humiliations of a young married couple that is peculiar for European sentimentalism, Fielding � due to the thematic tightness of the novel, its allusive fullness, the ambiguity of characters, the poetics of concealment � the narrative about the life of a libertine in a family (W. Scott) presents not so much as the moral lesson for the protagonist that is guided by passions but as ethical transformation that comes with the experience of the �art of life�. In recent decades �Amelia� has been the subject of many investigations, its experimental qualities made it attractive to critics of both the development of the 18th century novel and Fielding�s career. Modern readers however, have shown less interest for the work. Critical hostility to �Amelia� often seems to imply disappointment that it is not like �Tom Jones�. �Amelia� is often called a sequel to his masterpiece �Tom Jones� (Walter Scott) but Fielding adopted a new form of verisimilitude and changed his narrative technique, setting and tone. Historians agree that �Tom Jones� is loosely an epic, with a plot drawn from romance, while �Amelia� is modelled on a classical epic � Virgil�s �Aeneid� � and effects to eschew romance (Martin Battestin, Claude Rawson, Peter Sabor, Ronald Paulson, Simon Varey). The instability of reputation of Fielding�s �Amelia� demonstrates that the novel was traditionally estimated as writer�s failure but nowadays it is viewed as complicated literary form addressed to the highbrow reader. According to Peter Sabor, �Amelia� might never become the �favourite Child� of Fielding�s readers, as it was of Fielding himself, but what remains convincing about his last and most problematic novel is its harsh, world-weary picture of a venal society. Fielding�s darkened view of the people�s community influenced the later samples of the genre and reached successful treatment of the similar themes in the English novel of the 19th century. All the more it is the universal experience of the renewal of genre poetics and the reading of �Amelia� represents Fielding�s original conception of the novel. According to the declared problem the author of the present article uses historical and literary, sociocultural and hermeneutic approaches in the synthesis with the technique of close reading.