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The Concise Sociopolitical and Mass-Media Dictionary is an English-to-Amharic dictionary that was prepared primarily by Professor Zdeněk Poláček and digitized at the Hiob Ludolf Center for Ethiopian and Eritrean Studies (HLCEES) under the supervision of Professor Alessandro Bausi. The edition and digitization were carried out initially on Microsoft Word and then through XML using similar technology to other production work at the HLCEES. By using a lightly modified TEI Publisher application within eXist-db, this project successfully produced a 1,600-page PDF that may also be published as a book. This project note highlights the key steps taken in the process of digitizing the dictionary. It gives a succinct exploration of how TEI Publisher simplified the digitization process in comparison to Word. It also presents some of the extra revision steps that had to be taken using eXide after a dictionary entry was entered into the application. We supplement this note with figures to demonstrate these points.

La producción poética de Onofre Almudéver se contextualiza en Valencia hacia 1550-1570. En este artículo establecemos un elenco de los manuscritos e impresos antiguos conocidos que transmiten sus poesías, tanto en castellano como en catalán, y las editamos de manera conjunta por primera vez. Este análisis nos permite entender cabalmente lo que ya fue apuntado en algunos estudios referentes a la labor de Almudéver como autor de varios textos proemiales estampados por Joan de Arcos (Valencia, 1561) en tres libros diferentes pero unitarios, donde se incluían el Espill de Jaume Roig y otras piezas de autores valencianos. Esta compilación constituye el núcleo originario y la inspiración de lo que Ramon Miquel i Planas llamó el Cançoner satíric valencià, reincidiendo de este modo en la etiqueta historiográfica «Escuela Valenciana», que por primera vez acuñó Manuel Milà i Fontanals. Miquel i Planas daba una gran relevancia cultural al carácter unitario de los tres impresos de Joan de Arcos, pero también desarrolló una particular interpretación del pasado literario que podría haberse inspirado en algunas de las ideas que Almudéver esbozó en su Epístola proemial. Pero esta epístola, más que un intento de sistematizar un período cultural, debe entenderse como una manera de justificar una determinada estrategia editorial, ya que Almudéver fue un hombre ligado al mercado del libro más que un historiador de la literatura; y su espíritu creador se encauzó sobre todo en la devoción y la pedagogía, así como la escritura de poemas proemiales en alabanza de algunos autores y obras publicados en su tiempo.

Book Review

The section named Ystoria Ethyopie in the Cronica universalis written by Galvaneus de la Flamma (d. c.1345) depends, according to the writer’s statements, on a Tractatus de mappa whose author is easily identifiable as Giovanni da Carignano (d. c.1330), who drew a famous planisphere of the Mediterranean area. The Tractatus de mappa, as quoted by Galvaneus, reports surprising pieces of news about the Ethiopia of the time and in particular on an event which has been known so far only by a later and generally disregarded source, namely the Supplementum cronicarum of Giacomo Filippo Foresti (first edition 1483): the supposed embassy sent by an imperator Ethiopie to Western Europe at the time of Pope Clement V, that would be the first diplomatic contact between these two areas in the Middle Ages. The Latin text of the Ystoria Ethyopie is edited with an annotated English translation that intends to provide a detailed critical assessment of the document. If no conclusivem evidence in favour of the existence of the embassy emerges and the depiction of Ethiopia in the Ystoria Ethyopie appears to be in several passages influenced by contemporary ideas and expectations, there is no doubt that reliable information on early-fourteenthcentury Ethiopia was directly or indirectly conveyed to Giovanni da Carignano, as we can read it resumed in Galvaneus’s Cronica universalis.

Fondée en 1985 par le philosophe et essayiste François George, l’Association des Amis d’Arsène Lupin se présente comme une association littéraire indépendante régie par la loi de 1901. Elle compte parmi ses adhérents aussi bien des amateurs des aventures du gentleman-cambrioleur que des membres proches de la communauté scientifique dont plusieurs spécialistes et biographes de Maurice Leblanc. Elle est à l’origine de deux publications : un bulletin diffusé en ligne (L’Écho de France) et L’Aiguille Preuve (aux Éditions d’Arsène), sa principale publication, d’abord annuelle puis semestrielle depuis 2014. L’Aiguille Preuve prolonge une littérature d’amateurs qu’initie La Gazette des Études Lupiniennes dès 1965. Elle répertorie aujourd’hui les dernières avancées universitaires consacrées au personnage tout en proposant des textes retrouvés ou réédités et des fantaisies d’amateurs éclairés.

The text presented in this article is the earliest homily in honour of the Archangel Uriel. The homily is attested in two copies: the earlier is EMML 1835 (fols 166ra–181vb) copied during the time of Emperor Zärʾa Yaʿǝqob (r 1434–1468), and the other is EMML 1841 (fols 137vb–151ra) dated to the seventeenth century. The text makes significant use of 4 Ezra and 1 Enoch, depicting Uriel as angelus interpres and helper of Enoch and Ezra.

The main themes of the text, occasionally ascribed to Ezra (Salathiel), are the Second Coming of Jesus Christ, the end of the world, the future rulers of Ethiopia, and the honouring of the Sabbaths. It is cast in the spirit of 4 Ezra, quoting it and Jubilees occasionally and extensively. As in 4 Ezra, its author is interested in knowing and declaring the future to call the faithful to observe the law and the ordinances. Reckoning the time by cycles, aqmar, provides him the revelation of future events ‘with exact dates’. The text, composed before the sixteenth century, is one more source of Gǝʿǝz apocalyptic literature. The article is an edition and translation of it as preserved in EMML 6429, fols 9v–39r.

The article investigates the ancient edition of Archilochus' works. It argues among other things that P.Oxy. 2311 (fr. 48 W.²) represents the first column of the Trimeters and that the Epodes were organised according to metre, from the most iambic (beginning with frr. 172- 181 W.²) to the least iambic (ending with the new fragment preserved by BKT X 11, which was probably entirely dactylic). [ABSTRACT FROM AUTHOR]

After a brief introduction to Greg. Naz. Carm. 1.2.26, this article proposes the critical edition of the poem, accompanied by a philological commentary. Moreover, in order to portray the carmen's Nachleben, the text of the Byzantine paraphrases is offered, which could be divided into three redactions (Λ, Φ and Ξ). [ABSTRACT FROM AUTHOR]

Review

Review

Review

Foucon de Candie is an epic poem dating to the last two decades of the twelfth century. In the first part, it tells the story of Foucon, one of Charlemagne's nephews, acquiring the Saracen city of Candie. The still unpublished Franco-Italian version of this chanson de geste contains some laisses that are not in the rest of the French tradition. In this article I publish and comment on two of them which describe the galley of Foucon (La nef Folcho mult est bien atorné e Per gran maistrixie hont afermé un doion). [ABSTRACT FROM AUTHOR]

L’article étudie le discours éditorial dans la version scolaire des Œuvres de Nicolas Boileau publiées au XIXe siècle. Le corpus regroupe une douzaine d’éditions représentatives, par leur diversité, des programmes éducatifs successifs qui ont marqué la tranche chronologique considérée. Il interroge l’apport du paratexte iconographique et du « savoir biographique » dans l’élaboration d’une identité culturelle française et l’amplication du sentiment d’appartenance à la nation, à partir de la classicisation idéologique d’un homme de lettres, au sein du système éducatif de l’époque.

Dissertation Abstract

Review

It is clear that, due to the age of the manuscripts of the Abba Gärima Gospels and the condition in which they are preserved, some leaves of one Gospel manuscript have been inadvertently rebound with another Gospel manuscript. My presentation follows Garima I and Garima II, as titled, which have been graciously sent to me for this conference. For my personal study of the notes, I was fortunate to have access to copies made three times, first by D.M. Davies, then by Jacques Mercier, and now by HMML, the Museum and Library to which I am affiliated. Unfortunately, there are letters and words that might be lost forever unless there is a technology that can retrieve them. Also, a few people and many places will remain unidentified, at least for now, as it is not clear if two words which come following one another are names of one place or of two. As one will see, the method I followed is this: (1) editing the texts, (2) translating them into English, and (3) offering my views under ‘Commentary’. The Index helps when questioning if words that look alike are names of the same place or of different places. Conti Rossini’s edition of Liber Axumae (1909) and the study of its ‘Land Charters’ by Huntingford (1965) have been helpful. These notes are what one might call Land Charters; none of them is a colophon.

In 2010, I published a German translation (with a Greek text without critical apparatus) of testimonies and fragments by Origen commenting on the Book of Genesis. Now I am preparing the edition in the series „Die Griechischen Christlichen Schriftsteller" (de Gruyter, Berlin/Boston). The fragments are the remains of two works by Origen, the commentary and the 'scholia' concerning the first book of the Bible. Almost all fragments of these 'scholia' have come down to us through the florilegium called Collectio Coisliniana (ed. Petit), the exegetical Catena on Genesis (ed. Petit) and the Commentary on Genesis by Procopius of Gaza (ed. Metzler). In preparing the edition I have to rework parts of the editions of Françoise Petit in order to examine the different branches of the manuscript tradition, especially the different types of catena (according to the classification of Karo and Lietzmann). On this occasion one should question anew the origin of the fragments we call 'scholia'. What kind of work was it from which they come? The catenae and florilegia give at best the author's name for a fragment; very seldom we get the title of the work it comes from. Our testimonies give us three terms: 'scholia', 'semeioseis' and 'excerpta', presumably referring to the same kind of source, because Jerome used 'excerpta' as translation for 'scholia' as well as for 'semeioseis'. It is under discussion how to define the literary genre. In his fundamental paper Éric Junod examined the material and gave a rough definition: 'semeioseis', later on called 'scholia', were shorter exegetical remarks, formally distinguished from commentaries and homilies. Christoph Markschies gave them a place in the teaching at Origen's private university in Alexandria and in Caesarea Maritima, namely as both the notes of the hearers of Origen's lectures, analogously to the practice in philosophic schools of their time, and those by Origen himself preparing his lectures. Franz Xaver Risch, however, obtained quite another result from the detailed analysis of a catena on the Psalms, namely the second margin catena of the Codex Vindobonensis theol. gr. 8. As he could show, they are the author's notes in preparing a commentary and cannot be excerpts of any finished work. Of course, since we don't know any detail about the curriculum of Origen's university and the subjects of the lectures, we cannot exclude the possibility of his using any commentary (according to Risch) or any treatise (according to Junod) in teaching. Nor can we exclude 'scholia' coming from notes exclusively meant for purposes of teaching and learning. But we have no evidence. Since the discussion failed to find an exact meaning for 'scholia' or 'semeioseis' or 'excerpta', one should develop a broader concept to explain them. I propose to take them neither as an exact term of a literary genre nor as a label of function in running a private university, but as a category for librarian purposes. I think they were non-terminological designations, formulated ad hoc by users resp. librarians of the library of Caesarea, in order to separate remains of different pieces of Origen's literary legacy from the (finished) commentaries and homilies. Conclusions have to be drawn about the library of Caesarea Maritima as well as about the 'scholia' concerning the book of Genesis. At the time of Origen's death the library would host finished and unfinished works by Origen, possibly including material from the lessons of his 'private university' in Caesarea, as his preparations of lectures or pupil's notices of their contents. Origen's remains may have been with and without book cover, and the intention of some notices may have been uncertain, but they were esteemed as his legacy and included in the process of compiling catenae. 'Scholia' may have been morsels of such uncertain origin as well as excerpts of finished works. The 'scholia' concerning the book of Genesis seem to be drawn from a short commentary, perhaps not yet finished, meant to complete the extant commentary on Gen 1:1-5:1. [ABSTRACT FROM AUTHOR]

Gramsci’s Letters are now a twentieth century classic. And yet, from his first letters as a youth, passing through the years spent in Turin, Moscow and Vienna, his relation with letter-writing did not always have the constancy and centrality that it assumed during the prison years. The Letters section of the National Edition of Antonio Gramsci’s Writings awaits the integral and critical publication of the entire corpus of the letters through a progressive recovery of the documentation, and a careful historical and philological reconstruction of the contexts and phases in which the letters were written and received. In this way the National Edition aims at restoring Gramsci’s correspondence “from a dialogical or dialectical point of view”, to use his own words, by reconstructing in all their complexity the “dialogues on paper” in which he was involved during his life.

This article shows the development of a method of editing a hagiographic work at first known by a single text witness only. The protagonist, the monk Śärṣä Ṗeṭros, lived in the fifteenth century and founded the monastery of Däbrä Wärq (eastern Goǧǧam) where he is still venerated as saint. The work is named Gädlä Śärṣä Ṗeṭros and contains the saint’s Vita, his miracles and a mälkǝʿ-hymn. After a brief introduction to the work’s content and its narrative structure, the article reflects the first considerations and ideas on how the work could be edited taking into account the main principles of a scholarly edition and the challenges of working with a single text witness. The article presents the then current state of research while the Addendum outlines substantial changes surfaced soon after the 18th International Conference of Ethiopian Studies, Dǝrre Dawa 2012.

Review

Review

Il existe au moins deux états du texte du roman de Goffredo Parise intitulé Il padrone : celui de la première édition publiée en mars 1965 par Feltrinelli et celui de l’édition publiée en novembre 1971 par Einaudi. Les modifications d’un état à l’autre sont très nombreuses mais strictement d’ordre formel. Parise ne s’est pas exprimé sur les critères qui ont présidé à la nouvelle rédaction. Il faut supposer que, jalousement fidèle à ses convictions esthétiques et artistiques, l’écrivain a estimé que sa recherche d’une toujours plus grande légèreté expressive, d’une plus subtile fluidité syntaxique et d’une musicalité proche de la grâce des anciennes divinités ne relevait pas d’une théorie de la langue ou de la littérature mais d’une capacité spontanée, de la part d’un auteur, à être profondément et intensément in the mood to write.

Il fine di questo articolo è analizzare come la rappresentazione letteraria di scrittori maghrebini contribuisce in Italia alla costruzione simbolica dell’immaginario dei migranti. L’analisi parte da una esperienza di traduzione : Cannibales di Mahi Binebine, e si sviluppa in uno studio comparativo con altri romanzi di autori marocchini che trattano nello specifico la tematica della migrazione, in particolare Partir di Tahar Ben Jelloun, Le passé simple e La civilisation, ma mère ! di Driss Chraïbi. L’articolo nalizza il lessico e le scelte enunciative dell’originale e in traduzione (la compresenza nel francese di termini arabi o marocchini e delle scelte di traduzione che sono state fatte), la fortuna che hanno avuto in Italia. Il fine non è determinare quale tra queste opere possa essere più veritiera, ma capire che immaginario esse costruiscono dell’immigrazione dal Marocco all’Italia.

L’article est consacré à l’immédiate réception de l’Adone (1623) et à la mise à l’Index de l’ouvrage (1627). Cette question est considérée sous deux aspects. Dans le cadre de l’analyse de données générales, est tout d’abord rappelée la stratégie éditoriale déployée par Marino depuis Paris pour munir le poème d’un apparat propre à constituer son bouclier contre une critique qui veut entendre dans un sens strict les lois de l’honnêteté non moins que celles du poème épique ; puis sont interrogées les données biographiques et notamment l’ensemble de lettres écrites de Rome et de Naples après le retour du poète en Italie. Dans le cadre de l’analyse textuelle, à partir des micro-corrections apportées à la description au chant XVI du temple de Vénus et de son culte, ponctuellement expurgée dans l’édition vénitienne du poème, sont considérés les accusations d’irrévérence impie portées par Stigliani contre les franges obscènes du style lascif de son rival, mais aussi les liens profonds qu’entretient ce passage avec la poétique de Marino et son art de l’inventio.

The edition of Giovanni Raboni’s poetical works causes, before all, the problem of the relation between the auto-anthology A tanto caro sangue (1988) and the preceding books. The author and the editor have deemed it necessary to present integrally A tanto caro sangue at the side of Le case della Vetra, Cadenza d’inganno, Nel grave sogno and Canzonette mortali, respecting the original conception of A tanto caro sangue as an autonomous book, the result of the author’s reflection about his own work on the ground of those «thematic (or tonal, or emotional) prevalences» the structure of this book is due to. The essay proposes the notes of introduction to the six parts of A tanto caro sangue and a commentary to the sequence Scongiuri vespertini.

L’étude s’intéresse aux relations entretenues par les écrivains chiliens avec l’espace culturel, notamment littéraire et linguistique français. Ces relations marquées tout d’abord par l’articulation centre (France)-périphérie (Chili) se caractérisent par une remarquable évolution depuis le XIXe siècle. Elles vivent un moment de grande fulgurance dans les premières décennies du XXe siècle, puis elles dépérissent pour renaître ensuite avec vigueur à partir des années 1980. Ces trois moments sont analysés notamment à partir de la modification du rapport des auteurs chiliens avec la langue française. Ce rapport évolue de la fascination qu’exerce la langue et du désir d’imitation du modèle qu’elle éveille (XIXe siècle et début du XXe) à la compréhension et à la rationalisation de sa nature et de son fonctionnement à partir des années 1980. Ce processus évolutif est envisagé à travers les besoins que les écrivains chiliens ont ressentis de créer dans « l’autre langue ». L’étude s’achève par l’analyse d’un cas spécifique : celui des Éditions GrilloM de poésie chilienne bilingue dans les années 1980-1990.

The author proposes a critical edition of an unpublished editing of Dante’s Life by the chancellor Leonardo Bruni, extant in a codex inside the Biblioteca Mediceo Laurenziana of Florence, and copied by Ser Piero Bonaccorsi in 1440, and by the same embellished with interesting remarks and bordering glosses, sometimes showing a specific cultural ground, besides bringing some critical and historical news that can assume a special importance, in a linguistic level, for instance.

La norme expressive dominante dans la littérature hispano-américaine est l’écriture en langue espagnole. Cependant au XXe siècle, on constate la présence persistante, plus ou moins marginale mais toujours significative, de certains auteurs ayant choisi de s’exprimer dans une langue autre que l’espagnol. Des écrivains tels que V. Huibodro, A. Godoy, R. Ganzo, C. Moro ou A. Gangotena s’expriment en français. J. L. Borges et V. Ocampo le font, eux, en anglais ou en français. Aux États-Unis, en situation de bilinguisme non égalitaire, les poètes, romanciers, dramaturges et critiques chicanos sont tous bilingues et leurs écritures jouent avec les deux systèmes expressifs en espagnol ou en anglais. Le cas des écrivains cubains de Miami et celui des Portoricains à New York est beaucoup plus complexe. Il existe encore un certain nombre de situations de bilinguisme non égalitaire qui se matérialisent dans des œuvres littéraires des indiens nahuatls, quiches, mayas, quechuas, guarani ou mapuches.

This article briefly describes and discusses three Ethiopic manuscripts jointly containing Dǝrsanä Ṣǝyon ‘homily on [the glory of] Zion’ followed by Kǝbrä Nägäśt ‘Dignity of Kings’ as a single literary unit. It also lists the incipit and desinit of each manuscript with their peculiar features. Finally, an edition and translation of their lengthy colophon is presented.

Review

Review

Dissertation Abstract