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Статті в журналах з теми "Editions of autographs"
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Velikodnaya, Irina L. "Collection of Autographs." Bibliotekovedenie [Library and Information Science (Russia)] 1, no. 1 (February 28, 2016): 55–59. http://dx.doi.org/10.25281/0869-608x-2016-1-1-55-59.
Повний текст джерелаАнотація:
The review considers two new editions, connected by the theme of autographs, - “The Bibliophile Garland to Anna Akhmatova. To the 125th Birth Anniversary: the Autographs in the Collection of M. Seslavinsky” and “The Art of Autograph. Inscriptions of Writers and Artists in the Private Collections of Russian Bibliophiles”, published in 2014-2015. Description and identification of the autograph, its introduction into scientific use, as well as its study are relevant problems of today, as the accumulated handwritten material of this kind requires samples of cataloguing. The Russian collectors propose to comprehend such material accumulated in private collections, publish previously unknown autographs, manuscripts, epistolary heritage of Russian poets, writers and artists. Peer-reviewed publications are required in the work of experts - literary critics, art historians, book historians, culturologists, students of specialized educational institutions, and all the interested in the history of the Russian culture.
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Matrozova, Lira V., and Svetlana V. Zavadskaya. "“N.V. Gogol — Artist and Thinker. 200th Anniversary of the Birth”. Exhibition at the Russian State Library." Bibliotekovedenie [Russian Journal of Library Science], no. 3 (May 25, 2009): 9–10. http://dx.doi.org/10.25281/0869-608x-2009-0-3-9-10.
Повний текст джерелаАнотація:
The article deals with the opening of the exhibition dedicated to the 200th anniversary of the birth of Nickolay Gogol. Many editions presented at the exhibition contain autographs of Russian writers and poets, including the Gogol’s autograph. Director General of the Russian State Library V. Fedorov and the Head of Manuscripts Department V. Molchanov and others took part in the opening of the exhibition.
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Pawłowska, Eliza. "In search of truth in service of beauty: the comparison of the autograph of Sonata in a minor by Franz Schubert with available editions." Notes Muzyczny 2, no. 16 (December 30, 2021): 9–57. http://dx.doi.org/10.5604/01.3001.0015.5485.
Повний текст джерелаАнотація:
Musicians attach increasing importance to the selection of edition they use for playing. There is a growing awareness of the influence of score material selection on interpretation. Historical performance raises the bar as well by encouraging the use of autographs, manuscripts and first editions. Thanks to referring to historical materials, we can quickly appreciate the effort of contemporary editors who – once publishing scores today – make them much more accessible. It would seem that basing one’s interpretation on an urtext edition should be a perfect solution combining today’s clarity with historical truth. The analysis shows, however, that even these trustworthy urtext editions differ from one another, thus differ from the autograph. Using Sonata in A Minor D 385 by Franz Schubert as an example, the article shows different approaches to music text edition. There are distinct ways in which editors interpret articulation, dynamics, and even sound pitch. The biggest number of differences can be found in terms of articulation, which it largely connected with the necessity to read handwritten material. Unambiguous deciphering (and exact placement) of numerous music markings can sometimes be downright impossible. That is why editors often use the method which consists in searching for analogies between fragments and parts, yet this method does not always seem right. As performance practice shows, treating each part individually, playing a similar fragment in a dissimilar way, often brings interesting results interpretation-wise. The article encourages own experiments, using doubts as material for interpretation, and using the benefits of contemporary editions cautiously.
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Mäkilä, Sasha. "Kohti kriittistä editiota. Musiikkifilologinen analyysi Leevi Madetojan ensimmäisen sinfonian käsikirjoituslähteistä." Trio 10, no. 1 (July 10, 2021): 9–39. http://dx.doi.org/10.37453/trio.v10i1.110033.
Повний текст джерелаАнотація:
Leevi Madetoja’s (1887–1947) first symphony in F major, opus 29 (1916) was not printed during the composer’s lifetime. All performances of the work until the 1980s were played from handwritten orchestra parts. The printed score by Fazer from 1984 is riddled with numerous omissions, wrong pitches and mistakes in articulation and dynamics, and it seems to be a hybrid of the composer’s two manuscripts from 1916 and 1943 by an unknown editor. By today’s standards, the result is questionable, considering that the manuscripts were separated by 27 years. This article takes a look at the manuscript sources of Madetoja’s first symphony and is part of a larger project producing critical editions of Madetoja’s orchestral works. My research question is, what are the manuscript sources of Madetoja’s first symphony, and how are they related? I describe the autographs and handwritten orchestra parts and locate them in the source chain using genealogical reasoning and biographical information. I point out which orchestra materials and autographs are connected and highlight essential differences between the manuscripts from the point of view of the critical edition. Finally, I consider which of the autographs would be best suited as the principal source of the new critical edition.
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Shvaikina, Svetlana A. "Books with Autographs of the Nizhniy Novgorod Doctors." Bibliotekovedenie [Russian Journal of Library Science], no. 6 (December 12, 2011): 50–57. http://dx.doi.org/10.25281/0869-608x-2011-0-6-50-57.
Повний текст джерелаАнотація:
The article is concerned with the books autographed by the doctors, who lived and worked in Nizhny Novgorod in the middle of the XIX — early XX century, from the collection of rare and valuable editions of Nizhny Novgorod State Medical Academy Library. Little-known data on the medical and social activities of the mentioned representatives of the Nizhniy Novgorod medicine are highlighted.
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Helman-Bednarczyk, Zofia. "The New Edition of Chopin’s Correspondence." Musicology Today 13, no. 1 (December 1, 2016): 3–20. http://dx.doi.org/10.1515/muso-2016-0009.
Повний текст джерелаАнотація:
Abstract Some of Fryderyk Chopin’s letters were published individually or in groups already in the 2nd half of the 19th century. With the passage of time, more letters from and to Chopin were printed in monographs dedicated to his life and work. The first editions of Chopin’s collected letters come from the 1st half of the 20th century (by Scharlitt and von Guttry in Germany, Henryk Opieński – in Poland). B.E. Sydow’s Fryderyk Chopin’s Correspondence of 1955 continues to be used as the basic source edition by Chopin biographers. It has many strong points, but has become largely outdated. The research project dedicated to the new source edition of Chopin’s correspondence is implemented at the Institute of Musicology, University of Warsaw by Zofia Helman, Zbigniew Skowron and Hanna Wróblewska-Straus. It aims to edit and publish all the preserved letters written to and from Chopin. As a result of many historical cataclysms in the 19th and 20th centuries, some of Chopin’s letters have been lost or dispersed. Our edition consists of 3 volumes (Vol. I – Warszawa 2009, Vol. II – in print, Vol. III – in preparation). All the letters have been edited from sources: the preserved autographs by Chopin and other persons, autograph reproductions in various publications (if the original is now lost or inaccessible), and if reproductions are also unavailable – on the basis of a selected edition (not necessarily the first). Our edition is also the first to include summaries of lost letters to Chopin (based on Karłowicz’s publication of 1904). In comparison with earlier editions, the number of published letters has increased, and we added descriptions of the autograph sources that we used as the basis for our edition. Earlier dating of letters which contain no date in the manuscript has been verified, and some dates – changed or established for the first time. Commentaries and notes accompanying the letters are significantly more extensive in this edition than in any previous one, and they include: remarks on text edition, biographical notes for persons mentioned in the letters, explanations concerning places, identification of musical and literary works, theatrical plays and other works of art referred to in the letters; historical commentary on the events described; information concerning cultural life (concerts, opera and theatre performances). We have frequently had to confront confabulated material repeated for many years in musicological studies and deeply rooted in collective awareness. We have also corrected numerous misspelt surnames and thus pointed to the true identity of many hitherto unidentified figures. Our research on the letters has made it possible to establish or confirm some facts from Chopin’s life, such as new details of his stays in Munich and Stuttgart on the way to Paris in 1831, the exact date of his arrival in Paris (5th October 1831), details of Chopin and Hiller’s trip to Aachen to the music festival of the Lower Rhine, to Düsseldorf (in May 1834), as well as the definite date of the Polish concert in the Parisian Théâtre-Italien (4th April 1835).
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Kachur, Iryna. "Autorskie autografy na egzemplarzach starych druków XVI-XVIII w., zachowanych we Lwowskiej Narodowej Naukowej Bibliotece Ukrainy im. Wasyla Stefanyka." Z Badań nad Książką i Księgozbiorami Historycznymi 12 (December 24, 2018): 89–122. http://dx.doi.org/10.33077/uw.25448730.zbkh.2018.4.
Повний текст джерелаАнотація:
The author’s autographs in the early printed books from the collection of the Vasyl Stefanyk Lviv National Scientific Library of Ukraine can be grouped in two categories. The first one includes author’s signatures, their individual notes concerning the book, amendments and supplements to the text. These materials, quite rare in the books, are of particular importance for the researchers of the history of writing and printing. They can become an authoritative reference for dating, settling authorship of anonymous works, preparations of critical editions. The following authors are mentioned in the text: Mikołaj Bernett (1643-1710), Stanisław Brzeżański (ca 1650-1738), Tadeusz Juda Krusiński (1675-1757), Gottfried Lengnich (16891774), Ignacy Krasicki (1735-1801). The other category of author’s autographs, bigger and as precious as the previous one, includes hand-written author’s dedications. The annex to this text registers 67 Polish dedications from the 16-18th centuries. The following famous persons can be found among authors and recipients: Erazm of Rotterdam, Ercole Sassonia, Martinus Glicius of Pilzno, Andrzej Wolan, and Daniel Mikołajewski.
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Moklytsia, Mariia. "Rolʹ rukopysnoyi spadshchyny Lesi Ukrayinky u pidhotovtsi povnoho zibrannya yiyi tvoriv". Studia Polsko-Ukraińskie 8 (16 квітня 2021): 11–20. http://dx.doi.org/10.31338/2451-2958spu.8.1.
Повний текст джерелаАнотація:
Th e article discusses the preparation of the academic edition of the complete works by Lesya Ukrainka for publication carried out by the staff of the Volyn National University named aft er Lesya Ukrainka (Lutsk, Ukraine), with the involvement of leading literary critics of Ukraine. Th e implementation of this large-scale project (a collection of 14 volumes) became possible due to the fact that the university is the owner of the electronic archive of Lesya Ukrainka. Th e manuscript heritage of the writer has become available for detailed study by a wide range of researchers, in addition to remotely. Th e article states that careful processing of manuscripts revealed many problems in studying Lesya Ukrainka’s work, in particular, ideological interference in the process of publishing and interpreting manuscripts, especially draft manuscripts. Th e comparison of rough and clean autographs proved to be especially fruitful for commenting on texts, for an in-depth, and oft en completely new understanding of classical works. Th e organizers set a goal to fully refl ect the handwritten legacy of Lesya Ukrainka in comments and notes. Unfortunately, not every work of the writer received such an in-depth discourse, because many texts are presented in the collection of fi rst editions, as neither draft nor fi nal manuscripts were found. But even the available autographs allow us to interpret the writer’s manuscript heritage as a self-suffi cient object of science, to which it is necessary to apply not only the textual and genetic method but also many other methods of modern literary criticism.
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Litovskikh, Elena. "The Comparative Analysis of Formula Elements in the Text of Landnámabók‘s Elder Editions." ISTORIYA 12, no. 12-1 (110) (2021): 0. http://dx.doi.org/10.18254/s207987840018266-1.
Повний текст джерелаАнотація:
The paper compares facsimile copies of manuscript pages of the two elder versions of the medieval Icelandic historical work “Book of Settlements” (Landnámabók): AM 107 fol. for the Sturlubók version and AM 105 fol for the Hauksbók version. A technical comparison is facilitated by the fact that both these manuscripts from the Arnamagnæan Collection in Reykjavik are written in the same hand, being copies made in the mid-17th century by the renowned Icelandic scribe Jón Erlendsson from non-surviving autographs of those versions. We have determined the ratio of the formalized text (introductory characteristics of persons, genealogical lists, and topographic information) to vísur and þættir. The analysis using the proposed methodology leads to an unambiguous conclusion that both of the investigated versions of the “Book of Settlements” go back to the same exemplar.
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Bohdan, Svitlana. "About «Тілько» and not only in Lesіa Ukrainka’s language creation: in search of idiosyncrasy". Culture of the Word, № 93 (2020): 100–114. http://dx.doi.org/10.37919/0201-419x-2020.93.8.
Повний текст джерелаАнотація:
The article elucidates the regularities of the use and functioning features of the lexemes til’ko and til’ky in Lesya Ukrainka’s autographs and published epistolary and poetic texts. The study, using the comparative analysis approach, proves that both lexemes have the status of variants and are fixed in the similar semantic contexts. The actualization of the lexemes in the usus of the Ukrainian language confirms that they are polysemantic by nature and grammatically heterogeneous. The case study has revealed a clear quantitative dominance of using the variant til’ko in autographs. But the form has been repeatedly corrected, mostly in the epistolary texts. The study of the twelve-volume edition of Lesya Ukrainka’s works confirms the statement. Although we come across the use of the lexeme til’ko in the poetic texts, such facts are less frequent and reveal the general tendency of editors to replace the lexeme, arguing the need to avoid this variant, most obviously, due to classifying it as dialectal and atypical in the speech of a person who ought to serve a model of modern literary language. Epistolary texts of the nearest relatives of the Kosachs and Drahomanovs families have been also used in the case study to determine the organicity or, on the contrary, the accidental presence of the lexeme til’ko in the vocabulary of Lesya Ukrainka. It favorably authenticated the naturalness of its use. The key findings of Lesya Ukrainka’s epistolary and poetic microcontexts comparison, both author’s and edited, argue that proofreading not only changes but, in fact, destroys the authentic text, distorts the individual style, and hinders the research process. We are to restore these features in modern editions of Lesya Ukrainka’s works and offer the scholars a genuine, rather than ‘retouched’, individual style of the author.
Дисертації з теми "Editions of autographs"
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Little, Elden Stewart. "Discrepancies and consistencies among autograph manuscripts and Durand Editions of Maurice Ravel's songs /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Повний текст джерела
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Theodoropoulou, Marina. "Alessandro Scarlatti - soprano cantatas : edition, commentary and recorded performances of the autograph cantatas in Yale University, Beinecke Rare Book and Manuscript Library, Osborn Music MS 2." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3808/.
Повний текст джерелаАнотація:
The current doctoral study uncovered and revived 28 autograph cantatas for Soprano and Basso Continuo composed between 1704 and 1705 by Alessandro Scarlatti (1660-1725). The studied cantatas are held in a manuscript containing 36 cantatas (one of which misses the beginning) in Yale University, Beinecke Rare Book and Manuscript Library, James Marshall and Marie-Louise Osborn Collection, Call Number: Osborn Music MS 2. The historical context in which the cantatas were written and performed is introduced. A physical description of the manuscript follows, with the aim to assist the reader in achieving a better appreciation and understanding of these cantatas in terms of performance practice. The relation between the text and the music, and the adaptation of the rhetorical characteristics of the text into music, are two of the most salient features of this cantata collection. These features are described in great detail and their implications for the performance of the cantatas have been explored. A major contribution of this study in the field of performance practice is the production of a modern performing edition with an editorial commentary and of a recording of the 28 autograph cantatas with harpsichord accompaniment.
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Pagiavla, Manya S. "Domenicus Scepticus : An analysis of El Greco's Autograph Marginalia on Vasari's 'Vitae' (1568) on Barbaro's edition of Vitruvius's 'Dieci Libri dell' Architettura' (1556) and on Serlio's 'Architettura' (1566)." Thesis, University of Essex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527461.
Повний текст джерелаАнотація:
Domenicus Scepticus is a doctoral thesis that presents in a single study the corpus of El Greco's manuscript annotations on the margins of the printed books which he owned and which are identifiable to date. The short review of the artist's library is followed by a discussion of the two surviving books, which, although they are inventoried among the painter's possessions and the frontispieces of which establish further Greco's ownership, are not confirmed to date as displaying Greco's own handwriting on the margins. These are Appian's Delle Guerre... dei Romani (1551) and Xenophon's Operae Graece (1516). A short unedited study of the history of the provenance of Xenophon's Operae incorporates additional unpublished data, such a handwritten letter, and builds a series of hypotheses that needs further investigation regarding the Philhellenic culture in Toledo and Madrid of the Golden Age. In the main body of the thesis, the total number of Greco's autograph annotations in Vasari's Vitae (1568) and in Vitruvius's Died Libri dell' Architettura (1556) is examined in English, while the unedited transcription and translation of the notes in Serlio's Architettura (1566) is introduced -annotations attributed to Greco in all probability. Each chapter is dedicated to a single book's marginalia, presented in thematic units, each point analysed individually and compared or contrasted with other marginal statements where appropriate. Domenicos the Enquirer mainly studied Classical texts and annotated art volumes, both manifestations of his intellectual quest, echo of Renaissance Humanism that celebrates the revival of Classical thought and the pursuit of the universality of knowledge of Vitruvian prototypes. The expression of his beliefs in the marginalia represent an understated heritage in the history of modern publishing, from which this thesis draws conclusions in the interest of formulating Greco's theory of art, reflections of his thought in writing.
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Carraro, Gregorio. "Problemi di interpretazione e prassi esecutiva nelle sonate dell'autografo I-Pca 1888-1 di Giuseppe Tartini." Doctoral thesis, Università degli studi di Padova, 2013. http://hdl.handle.net/11577/3423588.
Повний текст джерелаАнотація:
ABSTRACT (ENGLISH VERSION)
“Problems of Interpretation and Performance Practice in the Autograph Sonatas by Giuseppe Tartini (I-Pca 1888-1)”
The starting point and the principal objective of this research was the edition of the manuscript I-Pca, 1888-1, an important autograph of Violin music written by Giuseppe Tartini (ca. 1750). The aim was of reconstructing the whole set of 31 complete sonatas as recommended by P. Braianrd (1961, 1970).
That has been possible working on the array of Roman numbers written by Tartini to arrange his sonatas in a gradual order. After Sonata XXV this number array was interrupted, and, in the second part of the manuscript, you can only recognize six sonatas: one sonata from one tip given by the author, five more thanks to some exact spots showing similar handwriting.
This kind of reconstruction has led to a new editorial proposal, which provides new and unexpected details of music practice, new tips and musical suggestions written by Tartini himself as well as problematic notational habits not yet examined in former studies and editions (Brainard, 1959; Guglielmo, 1970; Farina, 1980).
The unaccompanied Violin music by Tartini was studied like a sort of unicum in European history of music, not comparable to the great north European tradition (from Baltzar, Biber, Westhoff to Bach, Pisendel and Geminiani). The present study wants to fill this ´critical gap´ between Tartini and the great representatives of north European music, focusing on the first part of the quoted autograph, introducing 13 Solos with a written bass line. To achieve such a result, all possible connections between the Tartini’s Solos with a bass and the contemporary north European accompained Solos tradition were taken into consideration. The first and most important connection is his attested contact with the Court of Frederick the Great, to whom he sent (via Francesco Algarotti) a collection of Solos with a “basso per cerimonia”, today lost, which was for sure taken from the above-named autograph. (see “Lettera di Giuseppe Tartini al Sig. Conte Fr. Algarotti”, Padova, 24 febbraio 1750).
The research was concentrated on a large amount of German sources exploring the accompaniment of a Solo for violin, in order to define a sort of north European musical milieu (C. P. E. Bach, Quantz, Löhlein, Kürzinger, Eisel, L. Mozart) which was not so far from the ´Tartinian manner´ (as seen in direct scholars like Nardini, or further disciples like Campagnoli, Barbella).
This sort of “bass” was intended like a bass bowed melodic instrument (probably close to the so called “viola di spala (sic)”, “violoncello da spalla”, “basset[t]e” or, as a synonym, “violoncello”), and not as a thorough bass (for the harpsichord). This particular bass line was also used by Tartini to accompany a violin (notated with single or double string), in order to reach new effects of timbre.
All the bass lines in the Paduan autograph were analyzed, with a view to obtaining a ´map´ of Giuseppe Tartini’s counterpunctual methods, so as to define what kind of “bass” (continuo, seguente or both) he used, how, where, when, and why.
Padova, 31 gennaio 2013 Gregorio CarraroABSTRACT (ITALIANO) “Problemi di interpretazione e prassi esecutiva nelle sonate dell´autografo I-Pca 1888-1 di Giuseppe Tartini” L´obiettivo operativo del presente studio è l´edizione dell´autografo tartiniano I-Pca, 1888/1, sulla base della serie di 31 sonate proposta da Paul Brainard (1970). Questa serie di soli violinistici (in parte con il basso, in parte senza basso) è stata ottenuta proseguendo la numerazione romana scritta dal compositore per ordinare le sonate in progressione, riprendendola da dove Tartini l´aveva interrotta, ossia dalla sonata n. XXVI. Dalla sonata XXVI alla XXXI si è riusciti a ottenere una progressione di gruppi di movimenti graficamente coesi, a parte la sonata XXVI, la cui struttura è suggerita direttamente da un´annotazione autografa. Si è così giunti ad una nuova proposta editoriale, che mette in luce nuovi spunti di prassi esecutiva, inedite annotazioni autografe, usi notazionali problematici che nei precedenti studi ed edizioni (Brainard, 1959; Guglielmo, 1970; Farina, 1980) non erano stati ancora esaminati. I soli per violino non accompagnato nell´autografo padovano, sono sempre stati studiati come un unicum nella storia della musica europea, e, come tali, inconfrontabili con la grande tradizione nord europea (da Baltzar, Biber, Westhoff a Pisendel, Geminiani, Telemann, Roman, e, tra tutti, J. S. Bach). Il presente studio vuole colmare questo ´gap´ critico tra Tartini e la tradizione musicale nord europea, mettendo a fuoco la prima parte dell´autografo, dove ci sono 13 Soli con il basso. Per raggiungere tale risultato, si è considerata ogni possibile connessione tra i Soli accompagnati di Tartini e la coeva tradizione nord europea di accompagnamento del Solo. La prima connessione e più importante è il provato contatto tra Tartini e la corte di Federico il Grande, al quale egli inviò (via Francesco Algarotti) una collezione di Soli con un “basso per cerimonia”, oggi perduti, che per certo sono stati presi dall´autografo padovano (vedi: Lettera di Giuseppe Tartini al Sig. Conte Fr. Algarotti, Padova, 24 Febbraio 1750). Si sono prese in esame un buon numero di fonti sull´accompagnamento del Solo violinistico (C. P. E. Bach, Quantz, Löhlein, Kürzinger, Eisel, L. Mozart, etc…) al fine di individuare una sorta di milieu nord europeo che non fosse così lontano dalla maniera tartiniana (come riscontrata anche negli allievi diretti come Nardini, o negli allievi ´di seconda generazione´, come Campagnoli e Barbella). Questa sorta di “basso” era inteso come uno strumento melodico ad arco (probabilmente vicino alla cosiddetta “viola di spala (sic)”, “violoncello da spalla”, “basset[t]e”, o, come sinonimo, “violoncello”), e non come un basso continuo (per il clavicembalo). Questa particolare linea di basso fu usata da Tartini per accompagnare un violino (notato a corde doppie o singole), al fine di sperimentare nuovi effetti timbrici. Tutte le linee di basso nell´autografo padovano sono state analizzate, al fine di ottenere una mappa degli usi contrappuntistici tartiniani, per definire come usasse la linea del basso (continuo o seguente), in che modo cioè interpretasse l´interazione di questa con la parte violinistica. Padova, 31 gennaio 2013 Gregorio Carraro
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Alvarado, Teodorika Tatiana. "El teatro mitológico de Calderón : El monstruo de los jardines : estudio y edición crítica de la obra." Paris 3, 2008. http://www.theses.fr/2008PA030050.
Повний текст джерелаАнотація:
Cette thèse se centre sur le théâtre mythologique espagnol du XVIIe siècle, plus précisément sur l'importante production dramatique de Pedro Calderón de la Barca, dramaturge emblématique de cette période, qui nous a laissé des centaines d’œuvres d’ordre religieux, de cape et d’épée et d’ordre mythologique. L'étude porte en particulier sur une oeuvre très peu connue, « El monstruo de los jardines », pièce mythologique dont la date de composition s’approche de 1661. Pour cette étude, nous avons creusé dans les modèles antiques qui servent de source d’inspiration aux poètes baroques ; ainsi la connaissance de la mythologie classique, des philosophes classiques, mais aussi la connaissance des mythographes de la Renaissance s’avèrent impératives. Nous nous sommes donc appuyée sur des oeuvres littéraires du Siècle d'Or espagnol, sur des œuvres d’auteurs latins qui ont inspiré l’auteur et sur des œuvres du « Siècle d'Or grec ». L’analyse de la pièce prend constamment en compte d'autres comedias mythologiques de l'auteur pour visualiser le monde mythologique caldéronien dans son ensemble. Mis à part l’étude littéraire, nous présentons une étude musicale, preuve de deux représentations de la comedia, l’une en Espagne, l’autre à La Plata (actuelle Bolivie), au début du XVIIIe siècle. En ce qui concerne le travail d’édition, nous avons considéré les deux manuscrits existants de la pièce ainsi que douze autres témoignages pour établir les variantes du texte. Nous avons aussi proposé la ponctuation (rappelons que la ponctuation de l’époque diffère de l’actuelle) et nous avons éclairé la lecture avec des notes de bas de page d’ordre lexical, intertextuel et éditorialThis dissertation tackles 17th century Spanish mythological theater and more precisely the considerable dramatic work of Pedro Calderón de la Barca, an emblematic playwright of that period who wrote hundreds of religious, mythological, and cape and sword plays. This study focuses on a little-known mythological play, “El Monstruo de los jardines”, written around 1661. For the sake of this research, we searched into the antique works that inspired baroque poets. Referring to classical mythology, classical philosophers, and Renaissance mytholographers thus appeared to be compulsory. That is why we based our study upon Spanish Golden Century literary works, works by Latin authors, and “Greek Golden Century” works. The play analysis systematically takes into account the author’s other comedias so as to have a global perspective on Calderón’s mythological world. Besides the literary study, we present a musical study which is a proof of two performances of the comedia, one of which took place in Spain and the other in La Plata (what is today Bolivia) at the beginning of the 18th century. As for the editing work, we took into account the play’s two existing manuscripts as well as twelve other testimonies to determine the text’s variants. We also suggested punctuation (bearing in mind that today’s punctuation differs from that of that period). We also shed light on the text by adding footnotes that contain lexical, inter-textual and editing information
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Facchin, Carlo. "Nei frammenti della storia: l'edizione delle carte autografe delle "Historiae Venetae" di Pietro Bembo." Doctoral thesis, 2021. http://hdl.handle.net/2158/1238939.
Повний текст джерелаАнотація:
Edizione parziale dei manoscritti autografi di Pietro Bembo: Quirini cl. VI, 4 (=1043) e il ms. Marc. cl. X, 256 (=3134), solo le parti relative alle "Historiae Venetae" e ricostruzione della genesi dell'opera e un breve commento di alcune parti significative per evidenziare il metodo storiografico del Bembo .
Partial edition of Pietro Bembo's autograph manuscripts: Quirini cl. VI, 4 (=1043) and ms. Marc. cl. X, 256, only for the parts of "Historiae Venetae", and reconstruction of the writing process and a brief commentary of some relevant parts to show Bembo's historiographical method.
Книги з теми "Editions of autographs"
1
Da Saba a Levi: Frammenti di vita. Perugia: Quattroemme, 2012.
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2
Maini, Roberto. L'avventura dei Canti orfici: Un libro tra storia e mito. Firenze: Gonnelli, 2014.
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3
Vladimirskai︠a︡ oblastnai︠a︡ universalʹnai︠a︡ nauchnai︠a︡ biblioteka im. M. Gorʹkogo, ed. Knigi s avtografami iz biblioteki V.I︠A︡. I︠U︡kina. Vladimir: [publisher not identified], 2021.
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4
1965-, Hollender Martin, ed. Mich aber zog ein wunderbares Streben--: Joseph Freiherr von Eichendorff zum 150. Todestag am 26. November 2007 : Autographe und Erstausgaben aus dem Besitz der Staatsbibliothek zu Berlin : Literatur im Foyer, 26. November 2007. [Berlin]: Staatsbibliothek zu Berlin--Preussischer Kulturbesitz, 2007.
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5
Gleĭzer, M. M. Avtografy na knigakh. Sankt-Peterburg: Martynov, 1995.
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6
L, Sobolev A., ed. Knigi s darstvennymi nadpisi︠a︡mi v biblioteke G.P. Makogonenko. Moskva: Izd-vo "Trutenʹ", 2006.
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7
Lu Xun cang shu qian ming ben. Zhengzhou Shi: Da xiang chu ban she, 2011.
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8
Albrecht, Versandantiquariat Frank. Von links nach rechts: Deutsche Literatur von der Revolution bis zur Adenauer-Ära in Erstausgaben und Widmungsexemplaren. Schriesheim: Versandantiquariat F. Albrecht, 1985.
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9
Bürkel, Heinrich. Heinrich Bürkel (1802-1869): Repräsentative Edition seiner Korrespondenz und analytische Auswertung. München: Scaneg, 2018.
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10
G, Osipova O., and Kreĭn A. (Aleksandr) 1920-2000, eds. Knigi s avtografami v biblioteke A.Z. Kreĭna: Katalog. Moskva: Gos. muzeĭ A.S. Pushkina, 2010.
Знайти повний текст джерелаЧастини книг з теми "Editions of autographs"
1
Canneti, Caterina. "Boccaccio, il Decameron e la Crusca: le fonti spogliate dagli Accademici." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 247–70. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.13.
Повний текст джерелаАнотація:
This survey concerns the lexicographic presence of Giovanni Boccaccio’s Decameron in the Vocabolario of the Accademici della Crusca (from the first to the fourth edition). Boccaccio is the author that counts 15.600 occurrences (considering also his others literary works) already in the first edition. This is a significant situation about Decameron, because we know that a lot of its passages went through modifications and censorship: all of these interventions on Boccaccio’s text would have had some influence on the quotations into the Vocabolario. Starting from the declarations of the Accademici, the study wants to investigate about the employment of Decameron’s sources during the works for the Vocabolario, involving editions, manuscripts and Accademici’s autograph papers.
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Caflisch-Schnetzler, Ursula. "Autograph – Abschrift – Exzerpt – Kopie – Druck. Johann Caspar Lavaters Schreibwerkstatt im Lichte einer Digitalen Edition." In Duplikat, Abschrift & Kopie, 95–106. Köln: Böhlau Verlag, 2020. http://dx.doi.org/10.7788/9783412517465.95.
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3
"Autographs in Facsimile Editions." In Ludwig van Beethoven, 311–12. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv22fqbv7.14.
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Dvoryashin, Yury A. "Dynamics of the Text of the 1st and 2nd Books of And Quiet Flows the Don in Printed Sources." In Creative Heritage of M.A. Sholokhov at the Beginning of the 21st Century, 184–221. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0650-5-184-221.
Повний текст джерелаАнотація:
The article presents for the first time a systematic analysis of that textual changes (of technical or accidental nature, as well as made by the author or editors) which can be found in the first two books (parts 1–5) of M.A. Sholokhov’s novel And Quiet Flows the Don. The changes were made during the writer’s life and may be regarded as connected with every step of the novel’s creative history — from the drafts and the clean autographs, the journal publication and the first separate editions to the publication within the Collected Works of Mikhail Sholokhov.
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Mozharova, Marina A. "The Role of the Textological Passport in the Preparation of the Text of the Novel “Anna Karenina” for the Academic Complete Works of L.N. Tolstoy in 100 Volumes." In Questions of Source and Text Studies of Russian Literature of the 19th Century. Collection of articles based on the materials of the International Scientific Conference, 141–54. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0687-1-141-154.
Повний текст джерелаАнотація:
The article deals with the stages of preparation of the text of the novel “Anna Karenina” for publication in academic Complete works of L.N. Tolstoy in 100 vols. In vol. 11 published in 2020 there are parts 1–4 of the novel. At the moment at A.M. Gorky Institute of World Literature of the Russian Academy of Sciences vol. 12 is under work. It will contain parts 5–8 of the novel. According to the requirements to the academic edition the new release will be accompanied with the detailed textual comments which include the list of corrections in the text of the main source based on the autographs, manuscripts and the printed edition of 1878. These necessary corrections in the published text are impossible without a textological passport which is an important by-law. Textological passport contains the description of all previous editions of the novel where there was the issue of criticizing the text, that is the main source analysis from the point of view of its authenticity. Texological passport presents discovered textual discrepancies and the result of their censure. The comparison of the textual discrepancies with handwritten copies helps textual critic eliminate inaccuracies in the main source of the text. These corrections are necessary to reconstruct the text which is in line with the author’s last will. In case of “Anna Karenina” this is the corrected by Tolstoy printed text of parts 1–7 published in the magazine “Russkij Vestnik” (1875–1877) and a separate edition of the eighth part (1877).
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Dmitriyev, Andrey P. "About publications of Aleksey Khomyakov’s works and problems for the future: unknown, unpublished, uncollected." In Literary process in Russia of the 18 th — 19 th centuries. Secular and spiritual literature, 436–64. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/lit.pr.2020-2-436-464.
Повний текст джерелаАнотація:
The article on the material of unpublished archival documents (mainly epistolary) highlights the unknown details of the preparation of the Complete Works of Aleksey Khomyakov, which survived from 1861 to 1907. There are five editions; their differences from each other are investigated. An annotated bibliographic review of the best editions of Aleksey Khomyakov, published in the Russian Diaspora and in the USSR, as well as in Russia over the past 30 years, is given. In anticipation of the release of the modern, scientifically verified Complete Works of the writer in 10 volumes, prepared at the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences under the guidance of Boris Yegorov, the most significant achievements of the research group are described, especially about the finds in the archives and periodicals of unknown works of Aleksey Khomyakov and the publication of his creative manuscripts. For some of them (“Song of the Cossack”, “Experience in Improving Winter Roads by Rolling”, etc.), updated dates are given. A number of texts (“Genius”, “The Sexton”) were first attributed to Aleksey Khomyakov according to stylistic and thematic features, as well as memoirs. The in-neat autographs, fragments of the poems “Winter Anthem” and “The Sexton” are published for the first time, and the full text of Aleksey Khomyakov’s ballad “The Prisoner” (the early 1820s) is presented in the appendix to the article.
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Riemer, Peter, Michael Weißenberger, and Bernhard Zimmermann. "IV. Vom Autograph zur modernen Edition." In Einführung in das Studium der Latinistik, 54–83. C.H.Beck, 2013. http://dx.doi.org/10.17104/9783406659515-54.
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Hardy, Thomas. "[?Commentaries on Illustrations to 'Autograph Edition'?]." In Thomas Hardy's Public Voice: The Essays, Speeches, and Miscellaneous Prose, edited by Michael Millgate. Oxford University Press, 2001. http://dx.doi.org/10.1093/oseo/instance.00226933.
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Rubiera, Javier. "La edición de las acotaciones." In «Entra el editor y dice»: ecdótica y acotaciones teatrales (siglos XVI y XVII). Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-304-5/002.
Повний текст джерелаАнотація:
The main objective of this article is to clarify both the meaning of the use of the word aparte (aside) in the autographs of Lope de Vega, and the use of other verbal expressions or graphic marks that refer to the disposition of the actors on the stage to speak separately, with obvious spatial and enunciative implications. Therefore, the article deals with the use of ‘aside’ in the Spanish Comedia, the indication of the ‘asides’ in the manuscripts and printed texts of the 17h century, its treatment in the edition of modern dramatic texts, and the perspectives that the digital medium opens for the edition of the stage directions and, in particular, of those that indicate the asides.
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Rodríguez-Gallego, Fernando. "Las acotaciones de Calderón." In «Entra el editor y dice»: ecdótica y acotaciones teatrales (siglos XVI y XVII). Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-304-5/006.
Повний текст джерелаАнотація:
This paper intends to outline a panorama of the stage directions present in the seven plays by Calderón de la Barca of which the autograph manuscript has been preserved, in order to observe the modifications they suffered when the texts were transmitted to other ancient testimonies, with some specific references to modern critical editions. The analysis intends to show if there is regularity in this process, either towards the amplification, or towards the reduction, of the stage directions written by Calderón. It has been verified, however, that neither Calderón was regular in his writing practice with respect to the stage directions, nor were the following testimonies, no matter if they were printed editions or company manuscripts, although the genre and the scenic complexity of the plays seem to be behind the behaviour of the poet. Only in the Vera Tassis editions a conscious and quite systematic work regarding the stage directions has been perceived, tending in general to the addition of explicit indications that could be deduced from the dialogue, with the intention, presumably, of facilitating the reading of the texts.