Modern Editions Research Articles

Prefixes pre- and pri-: linguistic factors, codification criteria and modern edition of the rule (from materials of the academic description of Russian spelling)

The article is a fragment of the academic description of spelling. It is dedicated to the spelling of words with prefixes pre- and pri-. The assertion that the spelling of the vowel is determined by the correct choice of the prefix pre- or the prefix pri- is disputed. This thesis is true only for those meanings that occur in the stressed position. In other cases the spelling does not reflect the systemic opposition of morphemes, it is historically conditioned. The existing types of description of this spelling problem are compared. Two criteria are used in the description of this spelling: etymological and semantic. The semantic criterion can include different meanings and can refer to a prefix or a word. The expediency of building a rule based on the classification of the meanings of lexems, rather than prefixes, is shown. The restriction on the application of the prefix "check rule" is substantiated, it is determined when the check is allowed only by forms or derivatives of the same word. The reasons for including unchecked prefix meanings in the rule are considered. A version of the rule is proposed that reflects the systemic opposition of prefixes and the historically conditioned spelling that meets the requirements for an academic description.

Updated Technique for Forecasting Strength and Deformability of Composite (Clastic-Silty-Clayed) Soils

Clastic-silty-clayed soils are most common on construction sites of the Russian Far East. DalNIIS studies of the construction properties of these soils were launched by Professor V. I. Fedorov in 1968-1972 and ended with the development of a Technique of Assessing the Strength and Compressibility of the studied soils in 1991. This is the first in the global soil science Technique evaluating the mechanical characteristics of soil through its physical properties. In 2013-2014, the Technique was updated. As a result, a new modern edition of the Technique was developed as a Manual for Design and Construction of Foundations and Basements of Buildings and Structures in Watering out and Hazardous Heaving Soils of the southern Russian Far East with enclosed Charts of Standard Strength and Deformation Parameters of Clastic-Clayed Soils.

Church Slavonic Words имарменя, фатунъ, фортунa in Maximus the Greek’s Works

Within the linguistic research on the works of Maximus the Greek, the article raises the question of the peculiarities of an individual intellectual dictionary in his creative work. The object of this study is the authors use of three terms conveying the concept of "fate", in particular the lexical borrowing from the Greek είμαρμένη and from the Latin words fatum and fortuna, rarely used in Church Slavonic literature up to the 16 th cent. The use of significant terms is described through lexicographical analysis in the first two volumes of the modern edition of Maximus the Greeks works. Special attention is paid to the comparison of the meanings of individual words and their functioning with the data taken from the historical section of the National Corpus of the Russian language, and as well as from a selection of dictionaries of Old Church Slavonic and Church Slavonic languages, in order to identify the characteristic features of lexical preferences of Maximus the Greek. Thorough contextual analysis of the texts allows us to show how, conveying the concept of necessity caused by the stars or mysterious destiny, the author shows himself as an innovator, enriching Church Slavonic vocabulary with new borrowings. The article verifies the hypothesis about the reasons for lexical preferences of Maximus the Greek and makes assumptions about the interpretation of synonymy of the words denoting "fate" that appears in the studied texts. Linguistic goals, formulated on the basis of the results obtained, can be achieved only taking into consideration the general trends in the development of religious and philosophical thought in Europe in the Early Modern Era.

A Missed Shakespeare-Ariosto Connection

In The Winter’s Tale, just as Leontes has convinced himself of Hermione’s infidelity, beginning the painful process of prosecuting her and bastardizing their children, he delivers a notoriously opaque speech. He says: There may be in the cup A spider steeped, and one may drink, depart, And yet partake no venom, for his knowledge Is not infected. (II.i.39–42)1 Modern editions suggest that these ravings are based in folk medicine.2 While we may indeed find models for the king’s ‘affection’ (I.ii.140) in English herbals and receipt books––representing an epistemology that chimes well with his immersion in an old wives’ tale––such sources explain the spider, but not why Leontes talks about drinking from a cup when he thinks about his wife’s faithfulness in the first place. A similar cup is offered to a more trusting husband in Orlando Furioso. In a mysterious palace, gazing upon statues of great women,...

The Case of the Missing Birds: Thematic Reshaping in the Transmission of the Anonymous Old English Martinmas-Homily

ABSTRACT This article examines the development of the anonymous Old English homily for Martinmas throughout the ninth and tenth centuries. In particular, the work focuses on how the homily was reshaped during its transmission to conform to the differing thematic approaches that individual Anglo-Saxon scribes took while “copying” the text. After situating the context of the Sulpician Martiniana in early England, the author explores the thematic patterns evident in the anonymous Old English homily's selective translation of Sulpicius's Vita S. Martini and Epistulae. It is demonstrated that the later Anglo-Saxon copier's removal of the diving waterfowl episode is explicable as consistent with his thematic retelling of Martin's life, which excludes the saint's exorcist activities. In addition to offering an explanation for the episode's omission, the article argues that modern editors should treat the extant versions of the Martinmas-homily as two distinct textual traditions.

МУХЛИСЛАР ТОМОНИДАН ТУЗИЛГАН ДЕВОНЛАР: ТАЛҚИН, ТАҲЛИЛ ВА ТАҲРИР

In this article, the object of the study is to analyze the studies of Navoi related to the Divans of Alisher Navoi. The Divan poems composed by the poet admirers have been studied in comparison with those of the official Divans. The article deals with the analyzes of the bait (couplet) from “Baburname”, as well as modern editions of the poet’s poems, the history of the creation of some ghazals. The need to consider the gradual development of the poet’s poems and the process of creating a specific ghazal to “Khazayin al-ma’ani” in five stages is emphasized.

Letters <i>o</i> and <i>ё</i> after hushing sounds: codification criteria and modern edition of the rule (from materials of the academic description of russian spelling)

The article is devoted to the problem of creating a complete and consistent rule about writing o/e after hushing sounds, which not only corresponds to codified language material, but also is the basis for a systematic assessment of both normal deviations in spellings and various dictionary fixations of new words. Using the example of this rule, the general theoretical issues of combining in the spelling rules the reflective side, corresponding to the language essence of the phenomena, and the conditional one, which makes it possible to adequately assimilate and use the writing norms, are considered. The article provides an analysis of different approaches to the description of the spelling, defines modern language factors that affect the choice of spelling. The new version of the rule proposed as a result takes into account all the material included in the academic Russian Spelling Dictionary. The rule also takes into account the factors that are already formed and are still emerging, which are active in this area of writing. All this provides a reasonable approach to codification of new words and control over the points of interaction of multidirectional factors. Moreover, the rule also contains a purely formal clause that does not require any language categories, which is effective for the automatic implementation of the rule in writing.

Women at the Piano: Solo Works by Female Composers of the Nineteenth Century ed. by Nicolas Hopkins

Reviewed by: Women at the Piano: Solo Works by Female Composers of the Nineteenth Centuryed. by Nicolas Hopkins Anna Loprete Women at the Piano: Solo Works by Female Composers of the Nineteenth Century. Edited by Nicolas Hopkins. New York: Carl Fischer, 2019. [Table of contents, p. 2; Introduction in English, p. 3– 17; Notes on pieces, p. 1832; score, p. 35– 163. ISBN 978-1-4911-5689-6; pub. no. Carl Fischer PL1059. $34.95] This reasonably-priced collection of twenty-eight piano compositions by nineteenth-century female composers is an excellent addition to all types of library collections and for pianists seeking to broaden their repertoire. According to the editor, Nicolas Hopkins, it is "an attempt to offer recognition to an unacknowledged and largely unknown repertory" (p. 16). In addition to works by well-known composers like Clara Schumann, Fanny Hensel, and Maria Szymanowska, are samples from such obscure composers as Fredrikke Egeberg and Delphine von Schauroth. Hopkins provides biographical notes and discussion of all pieces, which are particularly useful for those for whom biographical information is not readily available. Many of the works contained here have not been published since their first edition (many available on IMSLP.) They have all been newly transcribed in easy-to-read modern editions. This anthology more accurately could have been titled Mostly European Women at the Piano. With the exception of Clara Rogers, an American, all women represented here were European—half of them being German. Of notable absence are American Amy Beach (1867–1944) and Venezuelan Teresa Carreño (1853–1917), both prolific writers for the piano. France is represented by three composers, followed by Poland and Norway with two each. Austria, the United States, and Sweden are only represented by one composer. The time represented is similarly narrow, representing primarily the early part of the nineteenth century. The earliest composer is Maria Szymanowska (1789–1831) while the latest is Luise Le Beau (1850–1927.) Some late Romantic music would have rounded out the anthology. Nicholas Hopkins's extensive introduction gives a good overview of the musical education and position of women in the nineteenth century, beginning with a comparison of the Mozart siblings. Wolfgang and his older sister, Nannerl, were given similar musical educations by their father, Leopold, and were taken on a "Grand Tour" of Europe from 1763–1766 during which they both performed. For Wolfgang, this was a chance for exposure to a wider world of musical styles and for the world to be exposed to this young prodigy. For Nannerl, this was also perhaps an eye-opening exposure to the vast difference in treatment of men and women. Whereas Wolfgang gained immortality as a composer and performer, when Nannerl came of age her education ceased and she became cloistered in domesticity. Like Wolfgang and Nannerl, Felix and Fanny Mendelssohn [End Page 270]were given identical musical educations. These educations, however, served different purposes: for the men it was preparation for a career as a professional musician, one that was intended to support a family and lifestyle through paid performances, publication, and sponsorship. For the women it was almost exploitative: in Nannerl's case her father capitalized on her exceptional talent as a young woman; a talent she herself could not use to her advantage as a mature adult. Fanny's father made his thoughts perfectly clear on the matter: "you must prepare more earnestly and eagerly for your real calling, the onlycalling of a young woman—I mean the state of a housewife" (p. 21). A musical education made clear to future suitors that the young woman's family was of sufficient means to afford musical instruments, lessons, and the leisure time to invest in study. An accomplished wife reflected well on a man: a woman who organized a successful musical salon brought a host of influential people into his home and displayed how well he had done for himself. In the wake of the Industrial Revolution and well into the nineteenth century, bourgeois society was strongly influenced by the idea of separate spheres—a public sphere where men dominated and a private sphere, the home, the space for women. While women were confined...

Hildegard of Bingen by Honey Meconi

Reviewed by: Hildegard of Bingen by Honey Meconi Michelle Urberg Hildegard of Bingen. By Honey Meconi. (Women Composers.) Urbana: University of Illinois Press, 2018. [xiii, 157 p. ISBN 9780252033155 (hardcover), $99; ISBN 9780252083679 (paperback), $21.95; ISBN 9780252050725 (e-book), price varies.] Figures, list of works, notes, bibliography, discography, index. I remember my introduction to Saint Hildegard (1098–1197) during an undergraduate class with Roy Hammerling at Concordia College. In addition to Hildegard of Bingen, class included readings on a number of other important female figures in the history of Western Christianity, including Saint Bridget (Birgitta) of Sweden, whose monastic order and music later became the focus of my dissertation. I distinctly remember that Hildegard was depicted as larger than life in her vita by the monks Gottfried and Theoderic (The Life of the Holy Hildegard, trans. James McGrath [Collegeville, MN: Liturgical Press, 1995]), and her own writings described vibrant visionary experiences in detail, notable to me because music or instruments (trumpets especially) appeared in many places (Secrets of God: Writings of Hildegard of Bingen, trans. Sabina Flanagan [Boston: Shambhala, 1996]). Finally, Barbara Newman's influential volume on Hildegard, Voice of the Living Light: Hildegard of Bingen [End Page 440] and Her World (Berkeley: University of California Press, 1998), helped organize my impression of Hildegard's writings. Nevertheless, I wish this book had been available back then as a scholarly complement to the primary and secondary sources we read in that class. Hildegard of Bingen by Honey Meconi—part biography, part history of Hildegard's musical output, and part introduction to liturgical practice in medieval monasteries—appears in the Women Composers series, which aims to publish books that are readable and a convenient reference. Indeed, Hildegard of Bingen is readable for students and those meeting Hildegard for the first time, serves as a convenient reference for experienced scholars or performers, and effectively establishes Hildegard as the notable composer of her milieu. Meconi's biography of Hildegard is compact, comprising ten short chapters in 150 pages. The first six chapters chronicle Hildegard's life, with a careful look at how music was ever present for Hildegard during her life and in her writings. Chapter 7 examines how Hildegard's life and music were transcribed, printed, and disseminated following her death. Chapters 8 through 10 take a close look at the extant manuscripts that contain her music as well as the scope of her musical output. A list of Hildegard's works, endnotes, a short reference bibliography of works about Hildegard, and a brief list of key recordings of Hildegard's music follow the main chapters. While the bibliography, notes, and discography are not complete, they do admirably to introduce or to reintroduce Hildegard to readers. One of the great strengths of this volume is how it juxtaposes manuscript evidence that helps scholars build a biography and musical history of Hildegard's life with the historiographical circumstances that made it possible to write Hildegard's history. I genuinely enjoyed reading Meconi's music-infused biography of Hildegard in the first six chapters; chapter 7 then narrates a few key choices that made it possible for this Hildegard biography and others to take form. Meconi attributes much of the twentieth-century interest in Hildegard to the refounding of the monastery at Rupertsberg and the transcriptions of her Scivias (the allegorical visions and apocalyptic prophecies) and the Ordo Virtutum (the allegorical morality play) by the nuns of the Abtei St. Hildegard in Eibingen, Germany (pp. 79, 81). Furthermore, chapter 7 shows that the sequence of decisions made by printers, scholars, musicians, and monastics to keep Hildegard's visions and compositions circulating occurred gradually over centuries, and these decisions helped documents survive (pp. 77, 79). Soon after her death, for example, biographers and William of Auxerre championed her cause (p. 76). The printed word was instrumental in rejuvenating interest in Hildegard later in the sixteenth century when several printings of her mystical text the Scivias, her medical treatise Physica, and her letters appeared. These constituted the primary published works of Hildegard until the nineteenth century (p. 78), with the appearance of the first modern editions by Charles Daremberg and F. A. Reuss (S. Hildegardis Abbatissae...

Stranger/Medieval Things: An Introduction

Stranger/Medieval Things: An Introduction Julie Singer What literacies are needed in order to read the medieval object today? Conversely, what light can readings mediated through medieval objects shed on the contemporary world? The aim of this issue of Digital Philology is to explore how the opacity of medieval objects, their very strangeness, makes them a useful lens for thinking through contemporary technologies and contemporary formulations of the digital corpus. Here strange should not be understood as “odd” but in its more etymological sense: “outside,” “external,” “distant.” What happens when medieval strangers are brought to bear on contemporary questions from which they might seem especially distant? What meanings are produced when we think through things that make themselves felt through their absence, or through things that highlight the gaps between and within themselves? With the language of thinking through, I mean to capture two ways of thinking: using modern technologies as an analytical tool and taking modern technologies themselves as an object of medievalist analysis. In thus defining this issue’s stakes, I am thinking specifically of Bill Brown’s use of a dirty window to illustrate his distinction between objects and things.1 Simply put, a clean window, through which we can look at something else in order to make meaning, is an object; a dirty window, no longer transparent, is a thing that draws attention to its own materiality and creates a new kind of subject-object relation. Increasingly, computers, networks, and digital artifacts are the windows through which today’s researchers view medieval books and artworks. When we use these tools, what are we truly looking at? An enormous body of literature has been devoted in recent years to the practical and theoretical implications of the digitization of medieval texts: mostly laudatory, occasionally skeptical, but always impassioned. And with good reason: “the computer rules our research and studies.”2 The availability of digital surrogates is beginning to rival the availability of accessible modern editions as one of “the primary determinants of [End Page 1] canonization in teaching and scholarly practice in Medieval Studies,” as Heather Bamford and Emily C. Francomano have warned.3 Digitized manuscripts are alluring, thanks to the increased accessibility they afford, eliminating the geographical barriers built into traditional archival research. In times of pandemic, unrest, or restricted travel and immigration, they permit researchers to examine facsimiles of medieval objects from the comfort and safety of home. Online tools have enabled a burgeoning number of innovative and often collaborative projects, such as those described in the recent Routledge Research Companion to Digital Medieval Literature and in Michelle Warren and Neil Weijer’s contribution to this issue. Digital editions also show the potential to recapture dimensions of the medieval manuscript codex that were irreproducible in the printed critical edition.4 But digitizations’ apparent immediacy (in the sense of unmediatedness, as set forth by Jay David Bolter and Richard Grusin) is only illusory.5 Our study of medieval objects is increasingly, but almost invisibly, dependent on the contemporary objects through which we study them: objects whose “double mimetic illusion” operates at the levels of both screen and machine.6 That dependency comes to the fore in the essays collected in this themed issue of a journal, one that is, after all, available exclusively in a digital format. In many ways, the medieval codex and its digital or hypertextual replica share a fruitful and even uncanny resemblance. Medieval book history can be thought of as a succession of innovations in platform and process; it has often been claimed in recent years that “the digitized medieval manuscript [. . .] recaptur[es] something of the materiality and objecthood of the original.”7 Indeed, the purported similarities or analogies between manuscripts and digital media are commonly cited as a rationale for engagement with medieval things—medieval books, in particular—on contemporary terms. Computing metaphors have pervaded an entire generation of medieval literary scholarship, beginning with Stephen G. Nichols’s New Philology and its conception of the “manuscript matrix” as an “interactive space.”8 The metaphors operate in the other direction, too, with early digitization efforts characterized as the “digital incunable”—or somewhat less optimistically, as artifacts of the “digital dark ages.”9...

THE POWER OF ORATORY: REREADING THE WHITBY LIBER BEATI GREGORII

This article offers a new perspective on the anonymous Liber beati et laudabilis viri Gregorii. The oldest extant life of Pope Gregory the Great, the Liber was composed at the double monastery of Strænæshalch, conventionally known as Whitby, under Abbess Ælfflæd probably between ca. 704 and 714. A principal concern of my article is the function, within the Liber, of its report of Gregory's encounter with a group of Deiran Angles in Rome, and that story's relation to the emphasis throughout the Liber on orality: the transmission of knowledge miraculously from heaven and through earthly channels by means of speech and other sounds. The Liber survives in an early ninth-century redaction, part of St. Gallen, Stiftsbibliothek, Cod. 567 (pp. 75–110). After discussing some issues that pertain to the modern edition and translation made by Bertram Colgrave from this manuscript, I compare the legend of Gregory and the Deirans in the Liber with the version in Bede's Ecclesiastical History. I then review the larger hagiographical narrative in which the Whitby author frames this episode, and I examine the story and other distinctive thematic as well as stylistic aspects of the Liber in the light of the following circumstances: seventh- to eighth-century regional developments that affected Whitby; conditions of teaching at this monastery, a major early English educational center; the documented interest at Whitby under Ælfflæd, as under her predecessor Hild, in heaven-inspired or miraculous forms of oratory; and liturgy and commemoration of the dead. Of interest for analyzing all these topics, but especially the last two mentioned, is Whitby's status as a female-led institution.

Алкей, фрагмент 140.9 Voigt: одна нерешенная проблема текста

The author examines two variant readings in Alcaeus fr. 140 Voigt, a well-known poem listing pieces of arms. These two variants in line 9 are: ἔρκος (direct tradition represented by a papyrus fragment) and ἄρκος (from the quotation in Athenaeus). The word in question is used in the expression describing greaves: ἔρκος/ἄρκος ἰσχύρω βέλεος “a (de)fence against the arrow’s might”. A brief history of these variants in Alcaeus’ editions is outlined. The variant ἔρκος, attested by the papyrus, is supported by Homeric usage of ἕρκος in some parallel constructions of the Iliad, where it is used to describe means of defense. This variant is preferred in modern editions of Alcaeus’ fragments, including those by E.-M. Voigt (1971) and G. Liberman (1999). However, ἄρκος of the indirect tradition is a lectio difficilior and apparently has no less rights to be included in the fragment. Unlike ἄρκος, ἔρκος could have been a result of banalisation of the text (even as early as before the 2 nd century AD). Besides, ἄρκος fits in the context quite well, as one can infer from the usage of the word in later poets Nicander and Oppian, and probably by Alcaeus himself in fr. 396 Voigt.

Konzerte für Orgel (Cembalo) und Orchester by Joseph Haydn

Reviewed by: Konzerte für Orgel (Cembalo) und Orchester by Joseph Haydn Gregory Hand Joseph Haydn. Konzerte für Orgel (Cembalo) und Orchester. Edited by Armin Raab and Horst Walter in conjunction with Sonja Gerlach. (Joseph Haydn Werke, Series XV, Vol. 1). München: G. Henle Verlag, 2020. [xvi p.; score, 238 p. ISMN 979-0-2018-5412-0. $295.00] With this volume, the Haydn-Institut continues its difficult and important work presenting the complete works of Joseph Haydn (Joseph Haydn Werke, hereafter: JHW). This series is rapidly becoming the gold standard in complete editions, particularly with its updated publication guidelines that require stemmatic analysis of sources in the absence of autographs (an unfortunately common problem with Haydn's works). It is lucky indeed that the organ concertos were neglected until now by the JHW, since there is hardly a collection that needs this up-to-date musicological method more than this repertoire. Together, the new volume contains six works: a pair of smaller concertos in C major (Hob. XVIII:5 and Hob. XVIII:8); a pair of largerscale concertos (Hob. XVIII:1 in C major and Hob. XVIII:2 in D major); the organ and violin concerto in F major (Hob.XVIII:6), and the Concertino in C major (Hob. XVIII:10) in an appendix. Haydn's organ concertos occupy an odd niche. Lacking true bravura soloistic writing, they are rarely heard in the concert hall. Instead, the organ concertos represent a tradition of concerted music serving as an ornament to the Catholic liturgy in Austria, Southern Germany, and Italy, and they are just as rarely heard today in this sacred environment. These concertos are puzzling, even maddening, because they raise so many questions. What was the intended solo instrument: organ, harpsichord, piano—or does it even matter? To what extent was the soloist supposed to dominate the ensemble, since [End Page 274] the solo part is so often intertwined with the orchestra? What exactly were the accompanying forces, and were instruments outside the "Viennese church trio" included? Why do some of the copies diverge so much from each other? Is the soloist supposed to play continuo during the tutti passages, and if so, what should be played? And of course, since we are dealing with Haydn, we must ask if the attributions are even authentic. This edition brings together for the first time all the sources and copies for each concerto, which finally allows these questions to be satisfactorily addressed, if not always answered. It is the result of decades of intense scrutiny of the source material, and absent a discovery of further autographs, I expect that it will represent the final word on the state of this repertoire. As an entry in the JHW, it has certain natural limitations as a text for performance, but as a critical edition, it is truly outstanding. Interest in Haydn's organ concertos grew after Georg Feder reexamined the keyboard concertos in the Hob. XVIII series and realized that some of them must have been originally written for organ. Besides finding important instrumentation information found in Haydn's Entwurf-Katalog, he noted that the organ in Southern Germany and Austria had a very specific range and a short octave, and this allowed him to positively identify some concertos as originally composed for organ, since they rather consciously avoided those notes not found on the organ's keyboard. After Feder's article, however, only three new editions of any of the organ concertos have appeared, each with different editorial teams (in their review of modern editions, the editors of the present volume omitted Paul Tegel's 1997 doctoral essay that created a performance edition of Hob. XVIII:2). The present new edition provided the Haydn-Institut with an opportunity to collect all the source material, reexamine the repertoire as an integral unit, and apply clear musicological and editorial standards to each concerto. The inability of previous researchers to compare all the different copies meant that they were unable to rank the usefulness of each copy. This problem has been decisively solved by the JHW and with this new edition, we finally have a stemmatic assessment of the sources of each concerto...

Authorial Choice and Modes of Circulation

Authorial Choice and Modes of Circulation Emily C. Friedman, Pam Perkins, and Peter Sabor all three of these essays explore authorial choice—particularly, the choice to withhold part or all of a text from print. Peter Sabor and Pam Perkins examine this issue through specific case studies. Sabor discusses Frances Burney d'Arblay's neglected labor as editor of her own correspondence and that of her father during the final decades of her life. Perkins focuses on Eliza Dawson Fletcher's production of works that circulated among Edinburgh's literary elite but either did not pass into print or were not originally intended for commercial sale and distribution. Emily C. Friedman's essay pulls back from the individual case study to consider the production of manuscript fiction more generally. It is clear that there is more to be studied about the world of writing and editing beyond print. In these essays, we start to see ways of reframing the world of print as not necessarily intimidating to women writers but instead antithetical to certain forms of creative work. The nature of commercial print means strictures on scale and content; the length of some of the manuscripts Friedman has identified suggests that authors could indulge in a degree of creative and compositional exuberance outside the constraints of publishers' demands and expectations. As Sabor demonstrates in his account of Henry Colburn's attempts to wrestle d'Arblay's (and Charlotte Barrett's) editorial work down to a manageable number of volumes, once a writer chose to seek commercial publication, financial considerations inevitably inflected her editorial and creative decisions. Yet a decision to forgo commercial circulation did not necessarily imply a willing or resigned acceptance of literary obscurity as a trade-off for creative freedom. Perkins reminds us that writers in the late eighteenth and early nineteenth centuries could build a reputation outside this world of mass print, which, [End Page 85] as scholars like Leah Orr have shown us, was not entirely "mass" to begin with, in the case of many literary forms.1 In a world of still-modest print runs, valorizing print (and, indeed, only certain forms of print, as other essay clusters in this special issue show) does a disservice to the realities of literary circulation. These three essays suggest that paying attention to manuscript and noncommercial print culture can open up our understanding of late eighteenth- and nineteenth-century modes of literary labor. The obscure or unidentified writers that Friedman discusses might have been writing for tiny, private audiences of family members and close friends, but theirs were compositions that they, or the recipients, took seriously enough to preserve. Fletcher's literary reputation was, at least for a time, much higher than that of many now-forgotten authors of printed minor Gothic novels or overlooked volumes of poems. D'Arblay's move into editorial work might be read as a retreat, or an advance, from more conventional ideas of literary creativity; despite the great length of three of her four novels (all but Evelina were first published in five volumes), her journals and letters eclipse them in extent, with the standard modern edition extending to twenty-five volumes. Yet, for better or worse, she left this huge mass of material, as well as her eight plays, in manuscript form during her lifetime. Recognizing the seriousness with which d'Arblay herself took her roles as editor, biographer, and life writer opens the way to recovering her own more inclusive understanding of literary work. Although these essays tend to focus on women writers, the question of whether to circulate one's work in manuscript or in print is not an issue limited to women, as Friedman points out. Here, attending to the cases of women writers illuminates use cases by unknown or unnamed writers whose individuality is lost to us, through the vagaries of how their work survives (or does not) in modern archives and collections. [End Page 86] Footnotes This response forms part of a special issue: "Women in Book History, 1660–1830," ed. Betty A. Schellenberg and Michelle Levy, Huntington Library Quarterly 84, no. 1 (2021). To read the essays in the issue, follow this link: https://muse...

Is There A Need in a New «Concert of Great Powers»? Discussions in the American Expert Community

The world political system is recently passing through a period of rapid changes. Decades of Western dominance are coming to an end, while strengthening China and Russia are eroding the weakening western leadership and its liberal values. In order to reduce tensions between the great powers and prevent possible confrontation, Richard N. Haas and Charles I. Kupchan propose to create a modern edition of the "European Concert" of the 19th century. Their opponents claim that the experience of the past is not always relevant in the present, and the "concert" system will not work in the modern circumstances. The article reveals the arguments of both sides.

Shakespeare for the "Triers": Richard Hawkins and Q2 Othello at the Serjeants' Inn

In 1630, the Stationer Richard Hawkins began selling an edition of Shakespeare's Othello from "his shoppe in Chancery-Lane, neere Sergeants-Inne" (Othello 1630 title page). This edition, identified by modern scholars as Q2, is remarkable as the first edition to fully conflate existent quarto and folio texts of a Shakespeare play. Scholars have remarked on the process that brought Q2 into being—but the question of why a seventeenth-century publisher/bookseller would invest the time and money to create such an edition remains to be considered. This article decenters the author to reconsider Q2's place among the people and ideas of the area in which it was published and sold: the Serjeants' Inn in the heart of the Inns of Court area of London. The article examines how Hawkins fashioned the books sold in his shop to entice this local readership. Literary and textual evidence from the Quarto is then reconsidered in the light of this new readership, providing fresh insights into the construction of this unique quarto and its place in modern editorial practice. This article also highlights the extent to which individual members of the book trade in the early seventeenth century engaged with local readerships and looks at the value of second-plus editions to that market.

El lugar de las enmiendas del Pinciano a la Historia Natural: aciertos únicos, propuestas olvidadas, nuevas soluciones

Las enmiendas del Pinciano (Hernán Núñez de Guzmán) a la obra de Plinio el Viejo supusieron en su época una revolución filológica a la que se fueron acogiendo diversos editores. Sin embargo, su empleo para las ediciones dista de ser uniforme. Algunas de sus propuestas, hoy aceptadas, cuentan con atribuciones erróneas y permanecen silenciadas, mientras que otras, que pueden proporcionar soluciones plausibles para pasajes controvertidos, cayeron en el olvido a raíz de un uso indirecto e incompleto de las mismas. En el presente artículo ubicamos las Obseruationes in loca obscura aut deprauata historiae naturalis (Salamanca, 1544-1545) en un contexto más amplio de comentaristas y recopilamos una selección de los mayores aciertos que contienen, junto con una relación de nuevas propuestas para replantear el contenido de diversos pasajes.

Pohvalni govor Pavla Paladinića za Fridrika Aragonskog (1496)

In 1496, Pavao Paladinić (Paolo Paladini, Paulus Paladinus, c. 1465 – c. 1513), a humanist from Hvar, composed his longest preserved text, The Oration of Pavao Paladinić of Hvar delivered in Taranto, in praise of the divine Frederick, Prince of Altamura, Illustrious Admiral of the Kingdom of Sicily and Governor-General. The text survives in a codex held today in Valencia (Universitat de València, Biblioteca Històrica, MS 132). The manuscript was a gift for Frederick of Aragon (1451–1501), the second son of the king of Naples, Ferdinand I (Ferrante). Frederick himself became king of Naples in October 1496. The paper introduces both Paladinić and Frederick, outlines the rhetorical features of Paladinić’s panegyric, and evaluates two modern editions of the Latin text (VALERIO 2001, GRACIOTTI 2005). The panegyric is provided in Latin and Croatian translation. Frederick of Aragon was the last king of Naples from the House of Aragon, ruling briefly in 1496–1501, after French King Charles VIII seized Naples in February 1495 and claimed the kingdom’s crown. Frederick spent much time abroad and refused to take part in the revolt of the barons, remaining loyal to his father, brother, and nephew. As king, he was forced to abdicate when confronted with the treaty of Granada in 1500. He had a keen interest in the arts and literature; in 1476 Lorenzo de’ Medici presented him with the gift of the Libro di Ragona, a collection of 500 poems by Dante, Cavalcanti, Cino da Pistoia, Pulci, and Boiardo. In the preface Frederick is compared to Peisistratos of Athens, who organised the transcription of Homer’s poems. Frederick’s court at Naples included a number of Petrarchist poets. The Paladinić family came to the Adriatic island of Hvar at around 1430 from Lecce, which in 1463 became directly subject to the Aragonese Kingdom of Naples. In Hvar the Paladinići became one of the richest families. Nikola Paladinić (born ca. 1419), Pavao’s father, served as the sopracomito of the Hvar galley in the Venetian navy several times between 1471 and 1497. In 1475 he was awarded the Order of Saint Mark. He had three sons: Pavao, Toma (killed in 1514 during the Hvar Rebellion) and Frano. Pavao accompanied his father in military expeditions, taking part in the capture of Monopoli in 1495 and in the battle at the Bocca d’Arno in 1497. In 1510, he composed a report (in Italian) on the crucifix from Hvar that perspired blood. Pavao Paladinić was in contact with the Dalmatian and Italian humanist poets Ilija Crijević, Tideo Acciarini, Frano Božićević Natalis, Pietro Contarini and Cassandra Fedele. The little known humanist Joannes Perlotus wrote De Nicolai Palladini Pharii equitis aurati Paulique eius filii militia ac memorabilibus gestis historiola per Joannem Perlotum edita, a brief celebration of the military achievements of Nikola and Pavao in 1475–1497 (preserved today as a manuscript in the National and University Library of Split); Nikola and Pavao were praised briefly in the Latin oration by Vinko Pribojević, De origine successibusque Slavorum (delivered in Hvar in 1525, printed in Venice in 1532). Pavao Paladinić praised Frederick of Aragon during the siege of Tarento, undertaken by joint forces of Naples and Venice, with a clear political goal: Frederick had to be persuaded to spare the city of Taranto, whose citizens were eager to surrender to Venice (and even to the Ottomans) to avoid massacre and destruction by the Aragonese army. For this reason, Paladinić insisted on the humanitas of the Aragonese prince. Paladinić’s panegyric follows the chronology of Frederick’s life, but mentions important events of that life only in very vague terms. The main themes of the panegyric are Frederick’s activities at home and abroad; there are remarks on the dignity of the human soul, on the best form of governance, on the island of Hvar and the Paladinić family, on his travels, and on the Necessity which rules human life. Paladinić cited or mentioned a number of names from Greek and Roman Antiquity (Tibullus, Xenocrates, Porphyry of Tyre, Plotinus, Augustine, Cicero, Strabo, Polybius, Aristotle, Apuleius and Hermes Trismegistus, Seneca, Pliny the Elder, Pythagoras, Vergil); while VALERIO 2001 identified most of Paladinić’s sources, I have been able to prove that Paladinić used – without naming it – the popular Italian commentary on Petrarch’s Trionfi by Bernardo da Siena (Bernardo Illicino, ca. 1430), first printed in 1475. Of the two modern editions of Paladini’s Latin panegyric, VALERIO 2001 is more reliable philologically, while GRACIOTTI 2005 is better on the Dalmatian context, and edits both Paladini’s prose and poetry from the Valencia codex.

L’Organe des Anciens? Retour sur les rééditions des Caractères de La Bruyère

Abstract This article challenges fundamental assumptions about Jean de La Bruyère’s Les Caractères and the eight reissues of the work that were published in just six years — a unique case in canonical French literature. Contrary to critical refrains since the mid-nineteenth century, these editions should not be considered as drafts that preceded a definitive version. Following early modern editorial practices, the reissues are better understood within a concept of periodicity: Les Caractères functioned as a media platform that allowed La Bruyère to compete with the Mercure galant (the fashionable official media outlet of Louis XIV’s reign) to intervene in topical debates and secure election to the Académie française. Throughout the editions, he subtly re-oriented his positioning and moulded his work into a literary monument. Behind its venerable philosophical tone, Les Caractères reveals itself to be a dynamic book, tightly linked to contemporary issues and elaborated from sophisticated media strategies, as well as a textbook case in the historiography of French studies.

Crisis in Psychiatric Diagnosis? Epistemological Humility in the DSM Era

AbstractThe modern editions of the Diagnostic and Statistical Manual of Mental Disorders (DSM), beginning with DSM-III in 1980, emerged in response to notable challenges to psychiatry’s practices and ways of knowing in the early 1970s. Because these challenges threatened psychiatry’s scientific self-understanding and moral authority, they exemplify what Alasdair MacIntyre has termed “epistemological crisis.” As a response to crisis, the modern DSM has been a stunning political achievement, providing the central diagnostic constructs around which psychiatric research, practice, and reimbursement has been organized for four decades. Indeed, the DSM’s authority survives in the face of ongoing trenchant scientific and philosophical critique. But if psychiatry is to be healthy, it must be epistemologically humble, reckoning honestly with the limits of the DSM before a future epistemological crisis destabilizes it entirely.