Editorial Problems Research Articles

Publishing Memoirs of Russian Historians of the Late 20<sup>th</sup> – Early 21<sup>st</sup> Century: Practices and Issues

The article reviews the memoirs of historians written and published at the end of the 20th – the beginning of the 21st century. Among the large number (about a hundred) of texts, it selects about twenty that meet the following criteria: 1) written by specialists in the history of Russia, who continued their research work in the last third of the 20th century; 2) created and published after the early 1990s; 3) published as separate books. The research aims to analyze the current practice of publication, identify the main editorial, ethical and legal problems, and ways to solve them. Selected texts are divided into two groups: fifteen were published by the authors themselves and four – by other persons. Publications of the second group meet the requirements of edition archaeography to a greater extent, especially in the correct usage of the academic systems for referring to references. The first group does not always show a clear dependence between the nature of the publication and the qualifications of the publisher. The publications of both groups contain critical opinions about contemporaries and even mention specific names. Ethical and legal issues examined in this research include the publication of similar information, the chronological interval between the creation and publication of texts, and the admissibility of a text with omissions. The article discusses different opinions of well-known experts and their arguments in favor of various solutions. The article concludes by arguing that the publishers of other people's memoirs usually consider the copyright holder's opinion. At the same time, established practice and scientific discussions show that there are still unresolved issues. It emphasizes a need for considering these issues, complying with the norms of the law, and reasonably compromising.

История формирования и методологическая база современной художественной критики

Art criticism and art history journalism have gone from theoretical treatises to axiological judgments in the XVIII–XIX centuries and to an interpretive approach in the XX–XXI centuries. At the present stage, the theory of art tends to the sphere of philosophy, aesthetics, cultural anthropology, sociology, new art criticism replaces the theory of art; the author’s character of interpretation reflects the trend from the universal to the individual. The dynamics of updating the methodology of judgment becomes an additional factor in the development of form; critic’s statement positions as journalism and analytics, which leads to the formation of a complex structure of evaluative and interpretative sense. The territory of the presentation of an art object transforms the principle of interpretation and affects the format of the art history text. Valueoriented criticism gives way to the author’s approach and interpretation due to the transformation of the structure of cultural institutions, the rejection of normativity, the change in species and genre stratification, the transformation of the principles of representation of works of art and ways of publishing visual materials. The author’s character of the text, the rejection of an integral system of criteria and a certain subjectivity give rise to essays. Changing forms of publications, latest information technologies and media have formed an electronic type of publications: «museum criticism» is developing, magazines, collections, periodicals, reviews and reviews appear in electronic media. Exhibition activity and gallery practice retain the format of catalogs and booklets, scientific work – collections of articles, periodicals and monographs. The methodology of modern art criticism predetermines by its place in the structure of social institutions of culture, the type of publication and audience, peculiarities of solving publishing and editorial problems.

Donald Edward Moggridge (1943–2021)

Donald Edward Moggridge (1943–2021)

A New York Leśmian: The Translation Strategy of Marian Polak-Chlabicz

The aim of this article is to identify and outline the strategy applied by Marian Polak-Chlabicz in translating the poetry of Bolesław Leśmian into English. The examination begins with the preliminary norm as refl ected in text selection, and the initial norm, which proves to be oriented toward recreating the strangeness of the author’s poetics. Examination of particular elements of the poetics includes the translator’s attitude to Leśmian’s neologisms and other creative language deviations, issues of syntax and of poetic form, and ideational contents of the poems. Also discussed are editorial problems and issues connected with paratexts.

Warianty tekstu autorskiego a decyzje edytora. O edycji krytycznej dzieł Marii Konopnickiej (1915) Jana Czubka po ponad stu latach

The aim of the article is to indicate selected editorial problems that can be found in the critical edition of Maria Konopnicka’s literary works prepared by Jan Czubek in 1915. The textological solutions adopted by the editor contain errors and thus have an impact on the analysis and interpretation of the writer’s works. Decisions regarding the choice of the textual basis are often not consistent with the last variant of the text prepared by KoKonopnicka. The way of implementing amendments to the text by the editor repeatedly is arousing anxiety, since he is not informing the reader about his interferences in the text. The author discusses the shape of poetical pieces from the critical edition and their variability. Research problems and tasks for the editor who will undertake the preparation of the new edition of Maria Konopnicka’s literary works were also defined in the article.

„Zabawa w powieść” – „Wspomnienia” Barbary Czerwijowskiej

The article discusses the most important editorial problems connected with the edition of memoirs of Barbara Czerwijowska's (the sister of Kazimiera Iłłakowiczówna, the granddaughter of Tomasz Zan). They were known only in fragments, which were elaborated by Józef Ratajczak and published in 1991 in the journal “W drodze”, under the title Kazimiera Iłłłakowiczówny lata dzieciństwa i młodości (Memoirs). They dealt mainly with Kazimiera Iłłakowiczówna and the relationship between the sisters, and were the editor’s arbitrary choice, contradicting the intention of the author, who developed the text as a coherent and logical whole.The new edition of Memoirs assumes the publication of the entire work, in accordance with the author's intention. The typescript was prepared by the author and later revised by her. The autograph (Czerwijowska’s handwritten notes written in notebooks) is an auxiliary text with regard to several problematic or illegible fragments. When preparing the typescript, all of the author’s handwritten corrections were taken into account (mostly of an editorial nature, concerning spelling or language mistakes). A few longer notes on the margins were introduced into the main text with an appropriate annotation about their location in the typescript. A problematic issue turned out to be the longer, slightly crossed-out fragments, indicative of the author's hesitation, which – after consultation with her heirs – were included in the footnotes.In the article, a fragment of the new edition of Memoirs was presented, which comes from part 3: U pani Buynowej, describing the period in which 13-year-old Barbara was brought to the custody of Zofia Buynowa, custodian and step-mother of her sister, Kazimiera Iłłakowiczówna, and moved to Stanisławów in Latvia.

„Zamyślam o nowej edycyi…” – przyczynek do zmagań z wydaniem „Ballad, Romansów, i Powiastek ludu” Stefana Witwickiego

The article is devoted to editorial issues related to Ballads, Romances and Folk Tales, the second, unpublished edition of Stefan Witwicki’s Ballads and Romances, in which the author made many changes compared to the first edition. As he wrote in the preface to the new edition, it was supposed to “revoke and delete” the first edition. Ballads and Romances, published in the 1824–1825, met with a negative reception by the critics and influenced the reception of the writer’s later works – the author was considered to be the epigone of Adam Mickiewicz. The new edition, despite the author’s determination, has not been published or prepared in the final version for printing. However, it has survived in a manuscript, showing the effects of the poet’s work. The article presents opinions about Witwicki’s youthful ballads – both from the critics and the author himself, who also spoke unfavorably about his own works. The structure of the manuscript and some changes introduced by the author are also described. The issue of editorial problems that may arise during the preparation of the collection for printing was also raised. Despite these doubts, the corrected edition of the ballads should be published – Witwicki’s works are an interesting example of texts shaping the early stage of Polish Romanticism.

Creators' Intentions and the Realities of Performance: Some Exemplary Editorial Problems from the Savoy Operas

When playwrights, composers and choreographers bring scripts, scores, and choreographies to first rehearsals, these are provisional documents that still need to be tested, transformed into audible sounds and visible movements. Works that are successful enough to be revived go through similar processes of testing and adjustment for each new production. In no genre are such adjustments so many or so far reaching as in opera. The Savoy Operas — the collaborations of Gilbert and Sullivan — constitute an excellent repertoire in which to study the dynamics of this process, for their genesis and performing history can be traced in a wealth of documentation. Although performances were controlled for three quarters of a century by the D’Oyly Carte Opera Company, a troupe committed to performing these works exactly as their creators had intended, numerous adjustments were made over the years. Because few good performers will regard any text as altogether binding, editors should supplement their clear texts with enough information, provided in critical commentary and appendices, to enable performers to exercise intelligently the freedom they will almost certainly claim.

Objectives of the Review of Evolutionary Political Economy's 'Manifesto' and editorial proposals on world problems, complex systems, historico-institutional and corruption issues.

This paper presents results of a close textual analysis of the Review of Evolutionary Political Economy’s (REPE’s) ‘Editorial Manifesto’ (Cincotti et al. Rev Evol Polit Econ 1:1–12, 2020), with special reference given to journal objectives, including making proactive editorial proposals for promoting, deepening and potentially modifying such objectives through time. In the process, it isolates six main objectives of the journal, including publishing papers on the big issues of the day using evolutionary themes; questions of integration and unification of schools and trends; studying the process of change through complex-systems, history and other methods; utilizing trans-, multi- and interdisciplinary perspectives; deepening international political economy (IPE) concerns within post-Keynesian and institutional schools; and scrutinizing differences between the schools and trends of evolutionary political economy (EPE). Ten proactive editorial proposals are made to mostly promote or in some cases adjust objectives. For instance, it suggests that special issues on big issues/problems apply especially EPE concepts and principles in some detail. It argues for papers on linkages between complexity theory and circular and cumulative causation. It encourages research on the positive and negative processes of innovation through the prism of the instrumental and ceremonial functions of technology and institutions. It suggests deepening an understanding of historical specificity and evolution vis-à-vis change and metamorphosis. It recommends scrutinizing the differences between trans-, multi- and interdisciplinary analyses; strengthening the IPE dimensions of all schools and trends of EPE; and encouraging papers on the emergent relationship between micro-meso-macro-global real world processes. It stresses the need to assess periodically the relative power of various schools and trends of EPE, and of publishing independent papers about editorial directions and problems. It outlines forms of editorial corruption of objectives and how they may be prevented or moderated, and proposes that objectives be kept firmly in mind when eliciting, refereeing and assessing awards, papers, symposia and special issues. Lastly it proposes the establishment of an independent Editorial Ombudsperson or committee for resolving disputes and anomalies; regular communication between REPE editors, boards and others on critical issues; and the publishing of yearly, five-yearly and decadal reviews and reports concerning progress with objectives for the journal.

De vita cum imperfectis

De vita cum imperfectis Alfred Dürr Translated by Traute M. Marshall (bio) The creation of new editions of old music, an important area of musicology, usually has two goals: to enrich our understanding of history and, at the same time, to provide present musical practice with new material—a goal to which the overused notion of the "unjustly forgotten master" bears eloquent (and dubious) witness. The editorial method employed assumes the incontrovertible high quality of the work to be edited; the original, as conceived by the master, is deemed flawless. From this it follows that all the errors contained in the work as it has come down to us are due to flawed transmission and therefore have to be emended in the new edition. Similarly, all additions made to the work by another hand in the course of transmission do not measure up to the level of the master; therefore, they too have to go. This attitude leads to the ideal of the Urtextausgabe, the edition of the original text. And even though the term in recent decades has been interpreted in a considerable number of different ways, it still implies that the new edition must focus as much as possible on the evidence of the composer, and that foreign interpretation of any kind is to be excluded. There is no need to challenge the general validity of these principles. Whoever follows them, however (in the conviction that clarification of the composer's intent is demanded by the commitment to truth, without which our discipline makes no sense), must also become aware of the method's limits in order to use it effectively. The following observations will consider some of those limits. A work like Johann Sebastian Bach's St. Matthew Passion, which the author is currently [1971] editing, is well suited to clarify the problems, since there is no question about the quality of the work or the capabilities of the composer. Therefore, we will be able to focus exclusively on editorial problems. [End Page 212] First of all, we must address the following question: to what extent should the notational appearance of the autograph score be preserved? Whenever the fair copy of a composer is the topic, the autograph Mus. ms. Bach P25 in the Deutsche Staatsbibliothek must not be, and cannot be, overlooked. All scholars agree that the idiosyncrasies of Bach's notational handwriting reveal to the eye—as well as to the inner ear—essential features of Bach's music. For that reason, every editor will strive to deviate from this visual representation as little as possible. Max Schneider, in his new edition, met this obligation in exemplary fashion.1 Therefore, the result reveals the problem of the method with particular clarity. Bach, for example, combines the two continuo staves of the first of the two choral movements, "Laß ihn kreuzigen," onto one staff (the lowest) for four and a half measures (folio 54r of the score): there was no space available for the normal separation. On folio 54v, on the other hand, there was sufficient space, and each chorus is given its own continuo staff for the remaining four measures of the movement. The same situation recurs in the second choral movement of the same text: on folio 56v it had to be notated on one staff for five and a half measures, but there was enough space on folio 57r to separate the continuo parts onto two staves for the remainder of the movement. Schneider notates both movements with just one continuo staff throughout (as the lowest staff), thus turning Bach's stopgap measure, necessitated by lack of space, into the governing rule. But when this rule is applied, should it then not be necessary to reproduce visually the lack of space in a new edition, so that the user can understand the rationale of the score layout? Would it not be more important to clarify what caused the composer to proceed in this particular way than to copy slavishly the mere appearance of the score? But is the lack of space the composer faced worthy to be enshrined in a new edition? A blind trust in authority ("he must have known why...

De vita cum imperfectis

De vita cum imperfectis Alfred Dürr Translated by Traute M. Marshall (bio) The creation of new editions of old music, an important area of musicology, usually has two goals: to enrich our understanding of history and, at the same time, to provide present musical practice with new material—a goal to which the overused notion of the "unjustly forgotten master" bears eloquent (and dubious) witness. The editorial method employed assumes the incontrovertible high quality of the work to be edited; the original, as conceived by the master, is deemed flawless. From this it follows that all the errors contained in the work as it has come down to us are due to flawed transmission and therefore have to be emended in the new edition. Similarly, all additions made to the work by another hand in the course of transmission do not measure up to the level of the master; therefore, they too have to go. This attitude leads to the ideal of the Urtextausgabe, the edition of the original text. And even though the term in recent decades has been interpreted in a considerable number of different ways, it still implies that the new edition must focus as much as possible on the evidence of the composer, and that foreign interpretation of any kind is to be excluded. There is no need to challenge the general validity of these principles. Whoever follows them, however (in the conviction that clarification of the composer's intent is demanded by the commitment to truth, without which our discipline makes no sense), must also become aware of the method's limits in order to use it effectively. The following observations will consider some of those limits. A work like Johann Sebastian Bach's St. Matthew Passion, which the author is currently [1971] editing, is well suited to clarify the problems, since there is no question about the quality of the work or the capabilities of the composer. Therefore, we will be able to focus exclusively on editorial problems. [End Page 212] First of all, we must address the following question: to what extent should the notational appearance of the autograph score be preserved? Whenever the fair copy of a composer is the topic, the autograph Mus. ms. Bach P25 in the Deutsche Staatsbibliothek must not be, and cannot be, overlooked. All scholars agree that the idiosyncrasies of Bach's notational handwriting reveal to the eye—as well as to the inner ear—essential features of Bach's music. For that reason, every editor will strive to deviate from this visual representation as little as possible. Max Schneider, in his new edition, met this obligation in exemplary fashion.1 Therefore, the result reveals the problem of the method with particular clarity. Bach, for example, combines the two continuo staves of the first of the two choral movements, "Laß ihn kreuzigen," onto one staff (the lowest) for four and a half measures (folio 54r of the score): there was no space available for the normal separation. On folio 54v, on the other hand, there was sufficient space, and each chorus is given its own continuo staff for the remaining four measures of the movement. The same situation recurs in the second choral movement of the same text: on folio 56v it had to be notated on one staff for five and a half measures, but there was enough space on folio 57r to separate the continuo parts onto two staves for the remainder of the movement. Schneider notates both movements with just one continuo staff throughout (as the lowest staff), thus turning Bach's stopgap measure, necessitated by lack of space, into the governing rule. But when this rule is applied, should it then not be necessary to reproduce visually the lack of space in a new edition, so that the user can understand the rationale of the score layout? Would it not be more important to clarify what caused the composer to proceed in this particular way than to copy slavishly the mere appearance of the score? But is the lack of space the composer faced worthy to be enshrined in a new edition? A blind trust in authority ("he must have known why...

O przekładzie i edycji dzieł Quentina Skinnera


 The text presents the ongoing project of editing selected works by Quentin Skinner, one of the most outstanding researchers of early modern political thought. The assumptions and individual stages of the project, as well as translation and editorial problems encountered during its implementation, were discussed.

“Dziennik wojenny” by Leopold Buczkowski. A challenge for a (young) editor

The paper discussed Dziennik wojenny [War Journal] by Leopold Buczkowski. It posed a question concerning the origins of the text and the subsequent stages of its development. That is a challenging task since the original version of the work is not available. Additionally, the lack of the first version makes it difficult to examine the so-called material sphere of the journal. It can be reconstructed only based on the surviving manuscript version. The author of the paper also discussed Dziennik wojenny against the background of other early works by Buczkowski (Wertepy and Czarny potok, a collection of a few dozen poems), from the perspective of editorial and philological problems. He also demonstrated the need for a new edition of Dziennik wojenny, and indicated the errors committed in the existing edition.

The New York Leśmian: Marian Polak-Chlebowicz's Translation Strategies

The paper discusses Marian Polak-Chlabicz’s English translations of Bolesław Leśmian’s poetry. The analysis begins with the description of the preliminary norm as refl ected in text selection and of the initial norm, which is defi ned by the attempts at re-creating the strangeness of Leśmian’s poetics. Polak-Chlabicz’s translation strategies under discussion include: his way of handling neologisms and other creative language deviations, the issues of syntax, poetic form, ideational contents of the poems. Editorial problems and the issue of paratexts have also been addressed.

Dolinami rzek Zygmunta Glogera z perspektywy edytorskiej

The author of the article presents a number of editorial problems specific for the genre of journey. Next, he goes into more detail, presenting possible solutions to the problems discussed, on the basis of Dolinami rzek by Zygmunt Gloger. The author outlines the perspective for a critical edition of the work, comparing three edits of the same description of a journey by the Neman river made by Gloger over the period of 30 years. In his conclusions, the author points to the possibility of digital edition of travel-related texts. Such edition seems especially predestined to grasp the intertextual character of travel writing and its special connection with the topography (hypertext in digital edition would be able to reflect the map structure better than linear text).

Editorial Management: Clinical Research Papers and Science Research Papers

The purpose of this editorial is to address ongoing concerns for research design problems, statistical analysis problems, and research study conclusions made in manuscripts and published articles. Editorial dilemmas are created when editors recognize important research ideas, but the research manuscripts for these ideas reflect poorly argued studies. When such dilemmas occur, journal editors are generally limited to one of the following options: 1) Rejecting a paper that simply is not tenable; 2) encouraging the author(s) to rewrite the paper and resubmit a revised paper; or 3) becoming ghost writers for the author(s) to bring an acceptable level of quality to the paper.Nuijten1 reported evidence to support an argument that statistical reporting errors are distorting scientific literature. Nuijten further reported that publication bias was the most prominent reason given, and provided the following concrete solutions to correct this problem:Allison et al.2 wrote that procedural and analytic mistakes in peer reviewed papers are discoverable; however, they are sometimes impossible to fix. Allison et al. further attempted to address more than 25 procedural and analytic errors. Journal editors, they reported, were sincere in their reviews; however, the manuscripts were generally not well prepared. Allison et al. cited ten editorial problems, including several listed below:Noorden3 addressed the problem of inaccurate use of statistics in published papers and discussed Science as an example of a journal that is taking action to correct such inaccuracies. Noorden reported that Science: 1) retains seven statisticians on a Statistical Board of Reviewing Editors (SBoRE) and 2) strongly recommends all papers reporting potential new biomarkers be evaluated by an independent statistician before submission for review (see http://www.sciencemag.org/authors/science-editorial-policies).Kass et al.4 recommended simple rules for effectively addressing statistical arguments in science papers. Using a list format with editorial comments, Kass et al. included some of the following rules:In response to the concern for research design problems, statistical analysis problems, and research study conclusions, Journal of Oral Implantology (JOI) has taken the following steps to improve the quality of the manuscripts submitted for review:Journal editors have responsibilities to ensure the accuracy of published scientifically argued papers, to protect the patients who practitioners treat based upon the finding of published scientific papers, and to ensure that published scientific papers have tenable longevity as progressive technology advancements are used to test the scientific merits of journal publications. The position of JOI is that these responsibilities need to be shared more fully with authors of scientific papers vying for publication in journals and not simply the responsibilities of journal editorial boards.

I Puritani: Opera seria in tre atti ed. by Fabrizio Della Seta

Reviewed by: I Puritani: Opera seria in tre atti ed. by Fabrizio Della Seta Francesco Izzo Vincenzo Bellini. I Puritani: Opera seria in tre atti. A cura di Fabrizio Della Seta. Part 1: Introductory Materials and Act 1. (Edizione critica delle opere di Vincenzo Bellini, vol. X, tomo 1.) Milan: Ricordi, 2013. [Pref. in Ita., p. vii–viii; principal sources in Ita., p. ix–x; introd. in Ita.,p. xi–xliv; facsims., p. xlv–lvii; libretto, p. lix–lxxii; characters, p. lxxiii; orchestra, p. lxxiv; index of pieces, p. lxxv; score, p. 1–487. ISMN: 979-0-041-39244-8, ISBN: 978-88-7592-923-7, pub. no. 139244. €550 inclusive of all 4 vols.] Vincenzo Bellini. I Puritani: Opera seria in tre atti. A cura di Fabrizio Della Seta. Part 2: Act 2 and Act 3. (Edizione critica delle opere di Vincenzo Bellini, vol. X, tomo 2.) Milan: Ricordi, 2013. [Index of pieces; score, p. 489–908. ISMN: 979-0-041-39244-8, ISBN: 978-88-7592-923-7, pub. no. 139244. €550 inclusive of all 4 vols.] Vincenzo Bellini. I Puritani: Opera seria in tre atti. A cura di Fabrizio Della Seta. Part 3: Appendices. (Edizione critica delle opere di Vincenzo Bellini, vol. X, tomo 3.) Milan: Ricordi, 2013. [Index of pieces; appendices, p. 911–1305. ISMN: 979-0-041-39244-8, ISBN: 978-88-7592-923-7, pub. no. 139244. €550 inclusive of all 4 vols.] Vincenzo Bellini. I Puritani: Opera seria in tre atti. A cura di Fabrizio Della Seta. Commentary. (Edizione critica delle opere di Vincenzo Bellini, vol. X, Apparati.) Milan: Ricordi, 2013. [Abbrevs. in Ita., p. 7–8; sources, p. 9–37; critical commentary, p. 39–288. ISMN: 979-0-041-39244-8, ISBN: 978-88-7592-923-7, pub. no. 139244. €i550 inclusive of all 4 vols.] Critical editions of nineteenth-century Italian opera have been appearing in print with regularity for a few decades. Four series devoted to the principal opera composers in early- and mid-nineteenth-century Italy—Rossini, Donizetti, Bellini, and Verdi—are all rather advanced; of these, three are intended as opera omnia, whereas the Donizetti series is a selective one, and includes only stage works. Scholars and connoisseurs know that the volumes in these series occupy many feet of shelf space in research libraries around the world. The distinctive color of the bindings of each allows us to locate them easily among collected works without using even a call number: Rossini is brown (the edition of the Fondazione Rossini, published by Ricordi) or yellow (the more recent Bärenreiter series); Donizetti is dark green; Bellini is blue; Verdi is red. There is no need here to review in detail the intellectual premises that led to the development of textual criticism as a prominent area of investigation in nineteenth-century opera, leading to the launch of the Edizione critica delle opere di Gioachino Rossini (Fondazione Rossini and Ricordi) in 1979, and of The Works of Giuseppe Verdi (University of Chicago Press and Ricordi) in 1983. Both of these projects were the brainchildren of Philip Gossett, who gave his imprimatur and led them for decades, establishing with clarity that critical editions of the works of these composers were to serve a twofold purpose: a philological one, leading not only to the recovery and restitution of texts reflecting authorial intention, but also to a meticulous reconstruction of the genesis of each work; and a practical one, providing performers with reliable editions, eminently approachable also by "end users" [End Page 139] with minimal interest in philology but keen to draw on the most advanced scholarship and, at the very least, to correct numerous, often significant errors perpetuated in conventional editions and performing materials. Such a twofold purpose is evident in the physical presentation of these editions: a large volume containing the full score and any musical appendices, and a smaller-size but often rather thick volume providing a critical commentary and notes describing source materials, and detailing compositional process, editorial problems, and choices. The Edizione critica delle opere di Gaetano Donizetti (led by Gabriele Dotto and Roger Parker, and known since 2001 as Edizione nazionale) takes an altogether different approach, with a...

New Directions in Medieval Manuscript Studies and Reading Practices: Essays in Honor of Derek Pearsall ed. by Kathryn Kerby-Fulton, John J. Thompson, and Sarah Baechle

Reviewed by: New Directions in Medieval Manuscript Studies and Reading Practices: Essays in Honor of Derek Pearsall ed. by Kathryn Kerby-Fulton, John J. Thompson, and Sarah Baechle Elon Lang Kathryn Kerby-Fulton, John J. Thompson, and Sarah Baechle, eds. New Directions in Medieval Manuscript Studies and Reading Practices: Essays in Honor of Derek Pearsall. Notre Dame: University of Notre Dame Press, 2014. Pp. xxii, 551. $66.00. This volume of twenty-four essays is the latest and also grandest example of commemorative essay collections, deservedly dedicated to Derek Pearsall. The collection builds upon Pearsall's own work establishing the York Manuscripts Conference in the early 1980s. This conference and its successor at Harvard gave birth to some of the most acclaimed contemporary scholarship on medieval manuscripts and literature: including volumes such as Manuscripts and Texts: Editorial Problems in Later Middle English Literature (D. S. Brewer, 1987) and New Directions in Later Medieval Manuscript Studies (York Medieval Press, 2000)—both edited by Pearsall—and several collections of essays dedicated to Pearsall, such as Medieval Literature and Historical Inquiry (D. S. Brewer, 2000) and Middle English Poetry: Texts and Traditions (York Medieval Press, 2001). The way this book of New Directions is different from the earlier festschrifts and collections, however, is how deeply the feted honoree's presence is felt throughout the volume. Rather than just offering an appreciative and celebratory introduction and a dignified photo facing the title page, the volume's editors help to map out its contents for readers with prefaces to thematic section groupings that all illustrate Pearsall's legacy helping to link medieval literary studies and book history. As a tip-of-the-hat to Pearsall's role in establishing this standard of textuality-awareness, Part 1 of the book is titled "Celebrating Pearsallian [End Page 343] Reading Practices," in which Tony Spearing leads off with an article that builds upon Pearsall's work on Troilus and Criseyde. Spearing does so by examining Chaucer's major contribution to Middle English narrative verse, i.e., overt narrative markers of the author's participation in a tale's retelling, through the lens of narrative theorists such as Gérard Genette and Gary Saul Morson. In this, Spearing further fleshes out his concept of "autography," illustrating how it can be understood as a reaction against earlier forms of retelling existing stories. In her "Derek Pearsall, Secret Shakespearean" Martha Driver offers a metacritical piece that combs back through Pearsall's curriculum vitae. Drawing on metacritism in another vein, Part 2 of the volume is as much a memorial to Pearsall's esteemed colleague at York, Elizabeth Salter, as it is a celebration of Pearsall himself. Essays from Jocelyn Wogan-Browne on affective reading in two meditations on Christ's Passion, Susan Powell on Wynnere and Wastoure's connection to the Wing-field family of mid-fourteenth-century Suffolk, Katie Ann-Marie Bugyis on strategies used by the Red-Ink Annotator of The Book of Margery Kempe, and Sarah McNamer on the place of origin and Franciscan affiliation of the author of the Italian Meditations on the Life of Christ all pay homage to the enduring work Salter produced to ground Middle English literature in its international, textual, and historical contexts. To demonstrate further the influence of Pearsall's effort to invigorate the field of literary studies with manuscript studies, Part 3 of the collection is positioned as a celebration of the thirty-year anniversary of the 1981 York Manuscripts conference. Carol Meale, for example, shows how her career-spanning interest in the book trade in London is built on the work she developed for that conference on early sixteenth-century bookseller and collector John Colyns. In her new essay, she reads Colyns's network of influence on cultural history even more deeply in an exploration of an important group of printers and book-dealers with whom Colyns gathered at Norwich in 1526. Other contributions in this section include A. S. G. Edwards's study on the cost and trade in Lydgate manuscripts in the twentieth century, A. I. Doyle's study on what can be learned about readers from marginalia in a single...

Exceptional Leadership: Lessons from the Founding Leaders

Exceptional Leadership: Lessons from the Founding Leaders

P.O.Janson, B.‐M.Landgren (editors). Gynekologi, 2nd edition. Studentlitteratur, Lund, 2015. 376 pages. ISBN: 978‐91‐09259‐1. Price SEK 663

This Swedish multi-author textbook on gynecology has been well received in Sweden and is now available in a second upgraded edition, partly with new chapters and new authors. It is a traditionally set up book, consisting of narrative with mostly drawings of acceptable quality and some photographic illustrations. It show-cases current thought in Swedish gynecology, although colored by the views of the authors of each chapter (one or two usually), as is expected in a narrative text. In line with this, the references are rather sparse, some are quite old, others are new, with some chapters lacking references to well-known ground-breaking work. The book starts with very well-written chapters on anatomy and physiology and is built up in a traditional way. Not innovative. For a new approach, the second last chapter, on evidence-based gynecology, should have been the first, or one of the first. This would have set the tone for the rest of the book. For a future edition it would be useful to have the evidence base as the nucleus of each chapter and other evidence and best practice considerations for each topic based around this, with a final emphasis on current developments and a look towards front-line advances. As it is, most readers who are not novices in the field will read what they already know. The book was originally aimed at medical students, general practitioners, midwives and nurses, and so it will appeal to those seeking an initiation to gynecology or those who want an overview of the current state of gynecologic practice in Sweden. For the most part, it does not provide the in-depth knowledge needed for a specialist, although some chapters are exceptions. It is too lecture-like and colloquial in parts. The target audience could have been more clearly defined and reflected in the various chapters. There are editorial problems, such as having the figure on page 23 re-published on page 58, and the illustration on uterine anomalies being found in three places, i.e. on pages 31, 74 (not in line with the relevant text on page 75) and 157. Better distinction between primary and secondary amenorrhea would have been good. Although new FIGO terminology is introduced in a good chapter on abnormal uterine bleeding, one wonders if “rikliga menstruationsblödningar” is the right translation of the English term. In the chapter on polycystic ovaries (PCO) it is surprising not to see a typical ultrasound picture of a multi-cystic PCO ovary even if a schematic drawing on page 102 is illustrative. More summary and schematic information in overview tables would have been a benefit here. In the chapter on ovarian cancer there is nothing on centralization of services and no mention of positron emission tomography. This is, however, rightly done in the chapter on endometriosis, where the importance of a team approach is also discussed. But in general, the gynecologic oncology and urology chapters are well written, as are chapters on violence against women, female circumcision and psychosomatic aspects. The book is none the less easy reading. It will be useful for medical students and for a young doctor taking her or his first steps in the specialty and wanting a good orientation on what it entails. The established gynecologist can also derive benefit by taking it along to the summerhouse on the Swedish coast or to the family cabin in the forest by a lake where a week of studying it by the log fire or in the summer warmth on the balcony will be well spent.