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Le présent article porte sur les noms de desserts présents dans le manuscrit Gall. Quart. 146 issu de la collection berlinoise, conservé à la Bibliothèque Jagellonne de Cracovie. Le recueil de recettes de cuisine reste inédit et n’est pas connu du grand public. Le livre date du XVIIIe siècle, mais il a été complété pendant des années jusqu’au milieu du XIXe siècle. On y compte dix-neuf noms de desserts. Nous allons les analyser du point de vue linguistique, en nous concentrant sur leur étymologie, et du point de vue culturel, en montrant les différentes significations des termes qui évoluaient au cours des siècles. Grâce à ces différences, les recettes peuvent différer les unes des autres. Nous visons à trouver des racines des noms de desserts dans la langue française du XVIIIe siècle et également des emprunts pour pouvoir analyser leur provenance et, ainsi la provenance des desserts eux-mêmes. Pour atteindre notre but, nous allons appliquer des méthodes classiques : historico-comparative et philologique. Analiza językowa i kulturowa nazw deserów obecnych w niepublikowanym rękopisie Galla. Kwartał. 146 (Biblioteka Jagiellońska w Krakowie) Niniejszy artykuł jest analizą nazw deserów pochodzących z rękopisu Gall. Quart. 146 z kolekcji berlińskiej, przechowywanej w Bibliotece Jagiellońskiej w Krakowie. Zbiór ten nie doczekał się jeszcze swojej edycji i pozostaje nieznany szerszej publiczności. Książka pochodzi z XVIII wieku, ale była uzupełniana na przestrzeni lat począwszy od połowy XVIII wieku aż do połowy XIX wieku. Zawarte w niej zostało dziewiętnaście nazw deserów. Autorka w artykule analizuje je z punktu widzenia językowego, skupiając się na ich etymologii, oraz z punktu widzenia kulturowego, pokazując różne znaczenia terminów, które ewoluowały na przestrzeni wieków. Wskazane różnice pozwalają dostrzec także różnice w przygotowaniu samych deserów. Celem artykułu jest znalezienie źródeł nazw deserów w języku francuskim z XVIII wieku, a także zapożyczeń, aby móc przestudiować ich pochodzenie, a tym samym pochodzenie samych deserów. W badaniu zastosowano klasyczne metody: historyczno-porównawczą i filologiczną.

This article offers a reflection on the writing of the sīra , the "life of the Prophet," based on the study of the catalogs of the Egyptian National Library and the Library of al-Azhar. The cross-analysis of the classifications of medieval and modern sciences, and the categories used by cataloguers at the end of the 19th century and in the first half of the 20th century, shows that the sīra was irreducible to the "biography of the Prophet," and covered a much larger set of texts. The rest of the article offers a description of the corpus of 491 works of sīra and the 1,119 manuscripts and printed matter which are its material manifestations. We come to the conclusion that this corpus can be used to describe the culture of the sīra in Egypt and in the Arab provinces of the Ottoman Empire. Two results appear particularly important: the constitution of series of texts (basic text, commentaries, glosses) makes it possible to describe a major part of the culture of commentary in the Ottoman period; the examination of the corpus also offers an interesting perspective on the transition between manuscript culture and printed culture in 19th century Egypt. [ABSTRACT FROM AUTHOR]

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Copyright of Communication Interculturelle et Littérature / Comunicare Interculturală şi Literatură is the property of Comunicare Interculturala si Literatura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Un manuscrit inédit anonyme de la Bibliothèque Laurenziana de Florence intitulé Il viaggio con la mente a Gerusalemme relate le récit original d’un pèlerinage mental qu’accomplit une riche Vénitienne dans les années 1606-1607. S’inspirant de plusieurs ouvrages identifiés dans l’article, elle rédige un récit de pèlerinage qui conserve l’anonymat de son auteur. Entre exercice pénitentiel et volonté d’universalité, le texte invite à une réflexion sur les raisons de cet anonymat autobiographique.

This article aims to analyze the phenomenon of literary transfer during the period of European Romanticism, by the mean of poetic translation. More specifically we have tried to study systematically the manuscript of the History of Modern Greek Literature of Joseph Dunin - Borkowski (1809-1843), by an analysis of the historical and human context as well as a parallel comparison of poetic translations following the text of the Polish poet. [ABSTRACT FROM AUTHOR]

Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to analyze the phenomenon of literary transfer during the period of European Romanticism, by the mean of poetic translation. More specifically we have tried to study systematically the manuscript of the History of Modern Greek Literature of Joseph Dunin - Borkowski (1809-1843), by an analysis of the historical and human context as well as a parallel comparison of poetic translations following the text of the Polish poet. [ABSTRACT FROM AUTHOR]

The essay is a plea for ending the hunt for the message inscribed into the final shaping of the Psalter. After the psalms had to suffer from exaggerated form-critical categorisation and other approaches, the Psalter is not in need of having its content labelled with inadequate generalising terms. The complexity of the psalms does not favour this approach. Instead, the psalms are waiting to be appreciated as textual individuals and each psalm as part of its special position in a manageable cluster of texts. In view of the Psalter as a whole the predominance of petition and praise, manifest in the title Tehillim, deserves closer theological attention. [ABSTRACT FROM AUTHOR]

The translation of handwritten historical documents faces many challenges due to variation in the writing style, local language, and an inevitable language change. Even the transliteration from Cyrillic to Latin characters is standardized by the bijective transliteration standard ISO 9. This presentation introduces a number of tools offered by Transkribus for the automated processing of documents, such as Handwritten Text Recognition (HTR) and Document Understanding, which are needed for the translation of historical documents. Next to the problem of decoding handwritten documents, written for example in Kurrentschrift using ancient terminology, changed meanings and different spelling have additionally to be considered during the translation of texts from earlier centuries. Resolution strategies on a case study show different methods for ensuring quality translations. [ABSTRACT FROM AUTHOR]

Le point de départ de mon intervention sera l’ouvrage que j’ai publié en 2010, La Révolution de Naples. Les dix jours de Masaniello, première traduction française du texte d’Alessandro Giraffi témoin oculaire de la révolution, ou tumulte, qui en dix jours porte le miséreux Masaniello des bas-fonds de la ville à son sommet puis qui le conduit à la mort. Naples est alors la deuxième plus grande ville d’Europe et cet épisode demeure extraordinaire. Dans la lecture du récit de Giraffi, je porterai mon attention tout particulièrement à la description du peuple et aux bruits de cette révolte populaire. Par ailleurs, je compte m’appuyer aussi sur un texte inédit à ce jour à savoir un manuscrit que j’ai repéré à la Bibliothèque universitaire de Bologne : une Lettera della Rivoluzione di Napoli dont je propose la première édition critique en annexe de mon article.

On 18th May 2018 the Wren Library at Trinity College, Cambridge hosted the vernissage of the art book exhibit “Wifredo Lam: Livres d’artistes”. One of the display cases contained a surprise for the Césaire specialists present in Cambridge. On two sheets of Assemblée Nationale letterhead an unknown autograph manuscript began : “Intense countries, where the creative force, never exhausted...”. At first glance, one might have taken it for an early draft of “Wifredo Lam and the Antilles”, which Cahiers d’art published under the title “Wifredo Lam” in its double issue (20-21) during the last trimester of 1946. However, the biobibliography edited by K. Véron and T. Hale in 2013 confirmed that this was the manuscript of Césaire’s contribution for the catalogue of Lam’s work exhibited at the Museum of Fine Arts in Caracas, Venezuela, between 8th and 22nd May 1955.

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Copyright of Litterae Vasconicae is the property of Labayru Foundation / Labayru Fundazioa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El Ms. 1191 de la Biblioteca de Catalunya constitueix una col·lecció factícia de goigs copiats als segles xvii-xix. Alguns estudis filològics i bibliogràfics havien situat la redacció de la part més antiga del volum, corresponent als ff. 18r-55v, entre el final del segle xv i el final de la centúria següent; però els autors d’aquest article, a partir del contingut del manuscrit i de la seva anàlisi codicològica, proposen la datació d’aquests folis entre els anys 1601 i 1610. Els divuit poemes continguts en aquesta part són documentats a partir del segle XVII en tots els casos excepte en els Goigs de la Verge del Roser (inc. «Vostres goigs ab gran plaer»), obra medieval que coneixem a través de nombrosos testimonis cinccentistes o posteriors. Onze de les divuit poesies tenen en el Ms. 1191 l’únic testimoni conegut anterior al segle xviii, i una de les peces en qüestió ha romàs inèdita fins al dia d’avui. Ens referim a uns goigs en llaors de sant Magí (inc. «Màrtir sou de gran valia»), publicats per primera vegada en aquest article.

Edition of the erased marginal note of the first page of the manuscript of the Chanson de la croisade albigeoise (BnF fr. 25425). This note seems to indicate the name of the person responsible for the text as a whole, who is very likely the same as the – hitherto anonymous – author of the second part of the Chanson. It was probably added in order to correct the information given by the first lines of the text in this manuscript. [ABSTRACT FROM AUTHOR]

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Copyright of Der Islam is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Revue Verlaine is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cet article propose de lire le manuscrit d’une nouvelle inédite de Jean-Joseph Rabearivelo comme une fable de l’Histoire dans laquelle se condenserait, d’une part, une veine ethno-nationale marquée par l’État centralisateur précolonial (le royaume de l’Imerina) irriguée par les mouvements régionalistes français ; et, d’autre part, une conscience d’intellectuel colonisé qui emprunte autant aux théories raciales des années folles qu’elle articule un discours critique sur la présence française à Madagascar.

Ébauche d’un article qui resta inédit, Le Foyer d’infection est un texte où Montherlant tire la leçon de ses années d’errance pour en faire profiter tout un chacun. On l’y découvre appliquant dans le concret le principe qu’il énoncera dans l’Avant-propos de Service inutile en mars 1935 : « La non-possession des objets et des biens est […] le B A ba de la liberté spirituelle. »

Onofre Soler i Rubio va ser un dels bibliòfils més importants de la Il·lustració tardana en la València del pas del segle xviii al xix. Va tenir un pes específic en la societat d’aleshores, com a rector de la Universitat de València en dos períodes diferents, com a canonge de la Seu i com a bibliotecari arxiver del Capítol. Tot i això, la seua figura no ha estat suficientment tractada, malgrat que l’Arxiu de la Universitat de València i l’Arxiu Capitular ofereixen molts documents encara per classificar. Una part d’aquests havia estat assenyalada prèviament, documentació que ací es revisa, s’actualitza i es completa, a partir d’aquests dos fons documentals i de la Biblioteca Històrica de la Universitat de València, quant als aspectes relacionats amb el seu important llegat bibliogràfic a aquest darrer fons, de 2 782 obres. D’aquestes, sols 37 són manuscrites i tres presenten la peculiaritat de ser còpies d’impresos antics, datats entre 1490 i 1561, una tècnica bastant desconeguda que, des d’època incunable, ha estat present en la transmissió textual de les obres. En aquest article s’estudien els tres còdexs, des d’una perspectiva interna i externa, que resulten mostres interessants de diferents episodis de la història del llibre, sota una mateixa estratègia de transmissió.

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Copyright of Analele Putnei is the property of "Stephen the Great Research & Documentation Centre - Putna Monastery" Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L’article centré sur la discipline épigraphique apporte un éclairage inédit sur la formule s.t.t.l. et s’interroge sur la place que devraient tenir les falsifications dans les réflexions des épigraphistes.

In 1674, Father Diego de Rosales completed his manuscript entitled Historia General del Reino de Chile, Flandes Indiano. For almost half a century, he had been the actor and witness of the Arauco war and evangelizing of the natives. Though it was cut in its final chapters, the chronicle came up us despite trials and tribulations.

La crítica ha subratllat el caràcter metaficcional de l’obra de Pere Calders, que reelabora molts dels tòpics de la literatura fantàstica en els seus relats, sovint mitjançant l’humor i la ironia. Tanmateix, des d’una perspectiva psicoanalítica, aquest diàleg amb la tradició es pot comprendre també com una exploració del significat que la fantasia té amb les persones o la manera com la ficció modela la identitat personal i també la realitat social o la cultura. Aquesta idea es reflecteix nítidament en un dels contes de l’autor, titulat «La clau de ferro», en què un home s’inventa una personalitat misteriosa molt similar als personatges sinistres de la novel·la gòtica per crear-se una reputació social. Tal és el poder de seducció d’aquesta fantasia que al final acaba devorant els protagonistes, incapaços d’acceptar la realitat.

Copyright of Sciences de la Societe is the property of Universite Toulouse, Le Mirail and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Médiévales is the property of Presses Universitaires de Vincennes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Une page autographe de Lamiel retrouvée dans les papiers d’Abraham Constantin enrichit le dossier génétique complexe de ce roman inachevé.

This article aims to present and to analyse two texts the French-Tunisian intellectual Albert Memmi wrote in his youth : the first of them has never been published before ; the second one has been issued in a local magazine. Before Memmi’s thinking ended up as the famous The Coloniser and The Colonised, (Portrait du colonisé précédé de Portrait du colonisateur) which was a bible of the anti-colonial fight throughout the world, it was worked up progressively, groping in the dark. The analysis of manuscripts and typescripts of the both texts emphasises it. Indeed, the first text discussed above is limited to recommending a deep reform of the colonial system, while the second text deeds the implacable iniquity of colonialism and comprehends the Tunisian (and beyond North-African) problem in a global way, not only by its economical aspect, as the French Left conceived it at that time.

Copyright of Médiévales is the property of Presses Universitaires de Vincennes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Le futurisme a eu un rapport paradoxal avec le roman : le genre est officiellement déconsidéré – un seul manifeste officiellement consacré au roman (synthétique) paraîtra en 1939 –, pourtant les futuristes et Marinetti pratiquent l’écriture romanesque sans trop se soucier d’une quelconque cohérence. Et même, dès les années de la guerre, Marinetti – au front – ne cesse d’imaginer des ébauches romanesques de toutes sortes, qu’il note précisément dans ses carnets manuscrits partiellement publiés il y a une trentaine d’années.Dans notre travail, nous analysons les spécificités de certains de ces innombrables projets narratifs, dont nous avons vérifié la précision de la transcription par rapport à la version manuscrite : il ressort ainsi que la version originale est bien plus riche, non seulement parce que les projets romanesques sont souvent explicités, mais aussi parce que, à bien des égards et au-delà des intentions, certains passages peuvent être lus comme de véritables textes poétiques.

Il contributo è un’indagine preliminare all’edizione critica della Dame escoillee, un fabliau composto intorno alla metà del Duecento che presenta alcuni tratti peculiari rispetto al corpus di appartenenza. L’intento è quello di analizzare i sei testimoni che tramandano il racconto in un’ottica non esclusivamente rivolta all’analisi singolare del testo oggetto d’esame; si intende piuttosto ricavare dalle piú recenti indagini sui recueils di fabliaux alcuni strumenti utili alla comprensione del testo e a una sua piú precisa collocazione nel panorama letterario coevo; di fatto questo panorama era costituito – agli occhi dei suoi primi lettori – dalle sillogi manoscritte: sono queste ultime perciò ad avere fornito il contesto in cui i primi fruitori del racconto l’hanno letto e interpretato. Coniugare l’approccio tradizionale della classificazione dei testimoni nell’edizione di singoli testi a un inquadramento di quegli stessi testi nel complesso dei recueils che li tramandano (con un’attenzione specifica al contesto e alle modalità di fabbricazione dei codici) è forse il metodo piú idoneo a chiarire meglio le dinamiche interne al corpus dei fabliaux, a superare l’errore «di volere a tutti i costi raccogliere in un corpus indifferenziato una congerie di testi» estremamente variegata e sfuggente alle categorie critiche consuete (Tavani 1997: 10).The contribution proposes an examination of the six manuscripts containing La Dame escoillee, a fabliau probably composed halfway through the 13th century, which is characterized by some peculiarities in comparison with the other texts belonging to the same corpus. The author intends to examine the recueils containing La Dame escoillee to find out some elements useful to the interpretation of the text and to its placing in the contemporary literary and cultural context. This research is based on the method recently applied to the study of fabliaux and their manuscript tradition by an international group of researchers (Universities of Geneva, Montreal, and Zurich): it is preliminary to the critical edition of this specific text, but is also intended to propose a reflection about the modern notion of fabliau and about its applicability and pertinence to the study of the varied and unsettled group of texts which are traditionally grouped together in the same corpus.

Copyright of Médiévales is the property of Presses Universitaires de Vincennes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La "temporalité des images ne peut se décliner qu'au pluriel. Pluriel des temps sociaux et des représentations du temps, qui varient selon les époques et les manières de « vivre » le temps ; pluriel des images, qui ne sauraient exprimer le temps et le mettre ne oeuvre dans leurs propres séries que de manière toujours spécifique, comme on en fait ici la démonstration à partir de quatre miniatures en pleine page issues de deux traités différents, mais complémentaires, de l'abbesse bénédictine rhénane Hildegarde de Bingen (1098-1179). Hildegarde partage avec ses contemporains une conception dynamique de la Création, qui connaît dans le temps une alternance de phases de croissance et de décroissance, de chaleur et de froid, de sécheresse et d'humidité. Le microcosme et le macrocosme sont en étroite correspondance. Ces mouvements de la nature et du corps sont commandés par les astres, plus précisément les "sept planètes" et surtout la lune, nommée "la mère de tous les temps ". On commente et compare ici quatre images de deux manuscrits d'Hildegarde de Bingen : une du Liber Scivias (troisième quart du XIIe siècle, produit encore du vivant d'Hildegarde), trois du Liber operum divinorum (d'après le manuscrit de Lucca, daté vers 1230). Avec les temps de la nature et du corps se combine le temps de l' "histoire naturelle" de l'homme, marquée par la Chute (Hildegarde rappelle que c'est le péché originel qui a mis le firmament en mouvement), mais tendue vers la Rédemption (d'où le développement eschatologique du programme visionnaire iconographique dans le Scivias et le Liber operum divinorum). [ABSTRACT FROM AUTHOR]

Copyright of Synergies Roumanie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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The article discusses the medieval translation "Livre de vieillesse" of the Classical Latin book "De senectute" by the Roman author Cicero, by Laurent de Premierfait, It describes the extant manuscript in terms of philology and textual criticism as a mixed manuscript. Among other topics addressed are the nature of scribal and authorial manuscripts, especially when mixed, preservation of medieval French manuscripts, and modern editions of the work.