Original Preface Research Articles

Paratexts as mediators of translations. The case of the preface to a Portuguese version of Defoe’s Robinson Crusoe

The provision of a translator’s paratext offers greater visibility to the translator and a direct source of information on his/her decisions and intentions. Osório de Oliveira, the translator of the Portuguese version of Defoe’s Robinson Crusoe, replaces the author’s original preface with one of his own in which he justifies the alterations to the original text, whilst underlining that it was a Portuguese vessel on its way to Brazil which saved the hero from his desperate plight. This paper proposes to examine the reasons for Oliveira’s emphasis on this particular episode, to the detriment of others which were unquestionably more interesting within the context of the hero’s adventures. The date of publication of the translation – 1940 – and consequently of the paratext, provides the principal key to the answer, as the ideology of the Estado Novo was founded on the exaltation of the Portuguese “Discoveries”, underpinning a colonial policy which supposedly justified the retention of the “Overseas Provinces”. The paper discusses the translator’s reasons for intervening in the target text, whilst attempting to evaluate how far the paratext may have mediated the reception of a final version in which the deeds of past heroes were exploited in an attempt to appropriate Defoe’s story.

“文学四要素”视角下明清《水浒传》序跋研究

M.H. Abrams, a renowned American literary theorist of the time, put forward a famous theory of “four elements of literature”, pointing out that literary activities consist of four elements: “artist, world, and reader”. Based on this theory, this paper finds out the four elements in the prologue of The Story of the Water Margin of the Ming and Qing Dynasties.
 This paper takes DingXigen's(丁锡根)Preface and Postscripts of Chinese Fictions(中国历代小说序跋集) as an example, and lists 22 preface and post scripts of Water Marginin(水浒传) Ming and Qing Dynasties. Contrasting with the “four elements theory of literature”, this paper briefly lists the four aspects of “work, world, author and reader” in the original preface.
 At the level of works, it mainly analyzes whether the Water Margin is a “book of loyalty” or a “book of non-faithfulness”；At the level of world, the causes of Songjiang Uprising are analyzed: the social environment is dark, the officials force the people to revolt；At the level of author, the author's motivation and creation process of The Water Margin are analyzed；At the reader level of reader, this paper analyzes the reader types, how to read Water Margin well and the influence of reading Water Margin.

Rumor in the Early Chinese Empires, by Lu Zongli, tr. Wee Kek Koon

This book is a translation of a monograph by Lu Zongli, a specialist in early Chinese history and thought, which originally appeared in 2011 under the Chinese title Han dai de yaoyan. A brief review such as this can hardly do justice to the author’s erudition or to this study’s empirical richness. Readers will also benefit from consulting the ‘Introduction to the English Edition’ provided by Mark Edward Lewis, another well-known authority on early Chinese history, which compares and contrasts Lu’s work with Western (anglophone and francophone) scholarship on rumours. Occasional typographical or grammatical infelicities notwithstanding, this is an admirably executed translation which consists of the author’s original preface, Lewis’s introduction, six main chapters, and a new epilogue written by the author in 2019. The basic structure of the core chapters consists of a thorough interrogation of Chinese terms used to describe a range of ‘rumor-like expressions’, followed by a presentation of specific examples within their proper historical contexts and, finally, some discussion of how such categorisations reflected and often dictated the official dispositions and responses of government authorities towards the particular types of unsanctioned speech and information under consideration.

CLASSICS STRIKES BACK: THOMAS EVANS AND HISMATHEMATOGONIA

Thomas Saunders Evans’ Greek poemMathematogonia. The mythological birth of the nymph Mathesis(1839) is one of the outstanding products of the British compositional tradition. The article begins with a brief account of Evans and of the historical context of the poem, which also belongs to the history of mathematics in Britain, and in particular, its teaching in nineteenth-century Cambridge. This is followed by a preliminary note onMathematogonia; a reproduction of the text of the poem, with Evans’ original preface and notes; an English translation; notes detailing Evans’ sources and borrowings from Tragic texts; and an appendix listing the changes he made after its first publication. The aim is to show what Evans wrote, and to explain what prompted him to do so.

"Intavulare": Tavole di canzonieri romanzi ed. by Luciana Borghi Cedrini and Walter Meliga

Reviewed by: "Intavulare": Tavole di canzonieri romanzi ed. by Luciana Borghi Cedrini and Walter Meliga Courtney Joseph Wells Borghi Cedrini, Luciana and Walter Meliga, eds. "Intavulare": Tavole di canzonieri romanzi, directed by Anna Ferrari. I, Canzonieri provenzali, vol. 14. Florence, Biblioteca Riccardiana a, aII (2814); Modena, Biblioteca Estense Universitaria a1(Campori γ.N.8.4: 11–13) (Canzoniere di Bernart Amoros). Modena: Mucchi, 2020. 321 pp. + 8 color ill. ISBN: 978-88-7000-649-0. €35 Created and directed by Anna Ferrari, the project Intavulare has published thirteen volumes on eighteen Occitan songbooks, five volumes on eight French chansonniers, and one volume dedicated to an Italian canzoniere.1 As stated in the original preface by Aurelio Roncaglia, the project's name is inspired by Renaissance humanists who compiled tables of medieval codices that often circulated separately from their sources ([2001] 2020, v–vi). These tavole umanistiche informed scholars on the presence of texts and authors contained in a manuscript, though they did not identify where these texts could be found specifically or their placement in relation to other texts in the codex (Ferrari 2020, viii). The title Intavulare is a nod to these tables, to the tavole antiche that often accompanied medieval songbooks (Ferrari 2020, vii), and to the multiple tables in the tavole di studio employed by modern scholars and especially Gustav Gröber (Ferrari 2020, viii). For scholars of Gröber's generation, these tables, in conjunction with diplomatic editions of individual manuscripts, facilitated a comparative analysis of textual variants and a global understanding of the relationships between different songbooks, without the need to examine in person the many manuscripts of the Occitan lyric tradition in libraries across Europe. Indeed, even with great advances in our modern infrastructure for travel (planes, high-speed trains, affordable cars, etc.), it is still only with great effort, resources, and time that a scholar can study a songbook such as N [End Page 51] in the Morgan library in New York and then go to the Biblioteca Riccardiana in Florence, for example, to study the contents and structure of canzoniere a. Even then, to gain a full view of the sixteenth-century copy of Bernart Amoros's medieval songbook that is lost to us today, that same scholar would have to travel on to Modena to study the second section of that same manuscript.2 The volumes of Intavulare thus have the purpose of bridging these great distances and putting a systematic presentation of the contents of major songbooks at the fingertips of scholars worldwide. In her introduction to the series, Ferrari explains that the volumes of Intavulare provide an X-ray of the medieval songbooks; the ultimate goal is to arrive at a CAT scan or, eventually, an MRI (Ferrari 2020, viii).3 The bones of these manuscripts, as it were, can be found in the tables of each volume. In each book, there are: 1) an index of the texts contained in the manuscript(s) studied, in order of appearance; 2) an index of the troubadours contained in the manuscript(s), in order of appearance; 3) an index of authors' names, organized alphabetically; and 4) an index of the incipit of each text, organized alphabetically. In volumes "tabulating" songbooks that contain vidas and razos, these are indexed in their own fifth section at the end. I confine my remarks in the remainder of this review to this latest installment, edited by Luciana Borghi Cedrini and Walter Meliga, that focuses on the sixteenth-century copy of the lost songbook of Bernart Amoros (a + aII + a1). In relation to the other installments of the series, this volume boasts a number of welcome innovations. While the other books in the Intavulare series have facsimiles in black and white of some parts of the manuscripts [End Page 52] studied, this volume boasts eight high-quality photographs in color. The enhanced reproduction makes reading these images far easier—and these reproductions are all the more precious, since a has not yet been digitized. Another important addition to this installment is an updated introduction by series coordinator Anna Ferrari, where she discusses why, after roughly ten years of intense activity—eleven of the thirteen volumes...

Una epistula acéfala restituida a su lugar: el verdadero prefacio (cristiano) de los Teraupetica

ABSTRACT: In his doctoral thesis, Wiedemann gave the editio princeps of a short medical writing entitled Epistula quod per omnes curas adhibenda sunt dei medicamenta . The article draws attention to the acephalous condition of this Epistula and relates it to the incomplete preface of a late antique medical recipe book called Teraupetica . This preface, in its incomplete form, and the so-called Epistula quod per omnes curas are two membra disiecta of the same text that would have been separated by accident. The unified text constituted the original preface of the Teraupetica , which is now presented for the first time in a complete critical edition, along with its translation into Spanish.

Is It Too Late? A Theology of Ecology

Is It Too Late? A Theology of Ecology

The Complete Folktales of A. N. Afanas'ev. Volume III

The Complete Folktales of A. N. Afanas'ev. Volume III

The Homiliary of Paul the Deacon: Religious and Cultural Reform in Carolingian Europe by Zachary Guiliano

Reviewed by: The Homiliary of Paul the Deacon: Religious and Cultural Reform in Carolingian Europe by Zachary Guiliano Rod Thomson Guiliano, Zachary, The Homiliary of Paul the Deacon: Religious and Cultural Reform in Carolingian Europe (Studies on Patristic, Medieval and Reformation Sermons and Preaching, 16), Turnhout, Brepols, 2021; hardback; pp. 339; 1 b/w, 3 colour illustrations, 13 b/w tables, 2 b/w line art; R.R.P. €90.00; ISBN 9782503577913. This is a model of what a monograph should be. It is a groundbreaking, seductively written introduction to what the author demonstrates to be a text of the first and widest importance (‘The homiliary is a monument in the history of Europe and the world, eminently worthy of further study’, p. 249). Compiled a few years before 800 ce, at Charlemagne’s order, Paul the Deacon’s Homiliary, on the evidence of the surviving copies alone, was to become one of the most widely distributed and most influential liturgical books of medieval Europe. In his first chapter, Dr Guiliano establishes the content of the original text, formerly based (R. Grégoire, Les Homéliares du moyen âge (Spoleto, 1980), pp. 423–78) upon half a dozen ninth-century manuscripts to which were ascribed wrong dates, [End Page 246] provenances, and interrelationships. All this Guiliano corrects, mainly based on first-hand examination of the manuscripts. He lists fifty-seven copies from the ninth and tenth centuries, including thirteen copies of special authority because they preserve at least part of Paul’s original preface. This is an example of the positive help that digital technology is giving to manuscript studies. Whereas nineteenth- and early twentieth-century scholars were dependent upon word of mouth, or perhaps printed catalogues (often wrong) for information as to the whereabouts of manuscripts, today one can sweep databases and be reasonably sure of the results. Not that, even now, such research is easy (the difficulties, and Dr Guiliano’s doggedness in tackling them, are outlined on pp. 39–41, 148). Mind you, the difference it makes to Grégoire’s list of the Homiliary’s contents is not so very great (p. 66), mainly involving renumbering rather than alterations to the texts. Dr Guiliano is constantly alert for opportunities to make observations of general importance, and anyone interested in Carolingian Europe should read his book. For instance, at the beginning of his chapter on the Homiliary’s theology: Thus, if we know the theological topics most important to Charlemagne and we know that he thought his homiliary was the greatest collection of patristic texts in his cultural world, it behoves us to ask just what sort of doctrine is found in it and how it relates to the topics outlined in the Admonitio Generalis [... and] other similar pieces of instruction from the period, such as Alcuin’s list of topics for the instruction of the Avars. (p. 175) Again, a painstaking examination of how long it would have taken to make a copy of the (usually two-volume) Homiliary—between one and two years—enables Guiliano to conclude that only a dozen or so copies could have been made before Charlemagne’s death (pp. 127–37). Many more copies survive from the eleventh and twelfth centuries, which is why so many manuscripts of this date figure in his list of authoritative copies. This observation must modify the opinion of those scholars who have maintained that Charlemagne ‘ordered’ that the Homiliary should be used, to the exclusion of all others, throughout his Empire: We cannot know how many communities knew they were using or copying Paul’s text; we cannot even assume that Paul’s preface was consulted by every user of the homiliaries that transmitted it, nor that anyone felt constrained by it. Charlemagne and Paul may have intended the homiliary to be used in a particular way, but others could have used it for all sorts of purposes. (p. 199) A discussion of Paul the Deacon as the ‘author’ of the Homiliary leads to a consideration of the medieval concept of ‘author’ generally (pp. 91–101). And an examination of the sources for the Homiliary’s contents leads to the conclusion that no single...

Chandani LokugéMy Van Gogh

Blue. When Kvist encounters a tramp named Hermann Gobb-Rillen, who had authored a novel entitled The Erasers, it becomes clear that Alain Robbe-Grillet is one of those ghosts, too, and that he has in a sense furnished a map for Kvist’s wanderings. In short, if Martiny is patently concerned with incendiary politics and natural cataclysm , he is also interested in how the human mind comes to terms with those phenomena , whose dimensions beggar the imagination , and it is that feature of his novel which seems especially opportune right now. Warren Motte University of Colorado Boulder Chandani Lokugé My Van Gogh Melbourne. Arden. 2019. 161 pages. CHANDANI LOKUGÉ’s new novel, My Van Gogh, winds its way from Australia to France with the lilt of an ancient pilgrim song. The novel, which traces the journey of a young Australian man, Shannon, to France in search of his lost mother’s roots, is rich in sensual detail and recounted with highly evocative, poetic storytelling. An erstwhile art student, Shannon is on a quest to walk in the footsteps of Vincent van Gogh, who mirrors Shannon’s desperate need to come to terms with his own struggle with chronic depression and, in so doing, to arrive at a capacity for healing the lifelong wound of rejection and abandonment caused by his mother’s sudden and unexplained departure. The novel reads like a somewhat melancholy revisioning of the medieval pilgrim’s morality tales, where several characters interact and share their stories and histories over the course of a pilgrimage; these interactions create a relational foundation on which new lives, and new directions, can be built and explored. This conceit, applied to a more contemporary context, allows Lokugé to explore what is fast emerging as one of the most significant issues of the postmillenial generations, that of mental health, as growing numbers of youth find themselves fundamentally alienated and unable to form thriving relationships among peers or family. The novel is also a testament to the capacity of the creative genius to shape chaos into healing form. Shannon finds direction and succor through his sketches and poems, while his companion, Lilou, finds ways to balance the darkness of her traumatic past, which she paints into watercolors of wounded seagulls against the soaring music of Ralph Vaughan William’s “The Lark Ascending.” With her unflinchingly human portrayal of loss and recuperation , Lokugé’s characters show us the capacity of the human psyche to explore trauma through art and to renew itself, like the pilgrimage heals through walking, in the process of containing the sublime within the beautiful. Aparna Halpé Toronto, Canada Matéi Visniec Mr. K Released Trans. Jozefina Komporaly. London. Seagull Books. 2020. 273 pages. THE PREMISE OF MR. K RELEASED, written in prerevolutionary, self-imposed exile and published twenty years postfactum , is simple: condemned to prison for an unspecified crime, Kosef J is unable to understand why he is being released or what to do with his liberty. As the protagonist’s name points to that of Kafka’s central character in The Trial, Visniec owns this heritage and evidently writes in a tradition of “freedom” (or “prison”) literature, just as Kafka himself called Dostoevsky “a blood relative.” Essentially, the book is a reinterpretation or “negative” of Kafka’s novella. This information is elaborated upon in the author’s original preface, not included in this English text, though the autobiographical dimension of the author not being able to adapt to Western freedom gives the book a more interesting dimension. Such parentage sets the tone for a philosophical novel, driven by the protagonist’s sense of cognitive dissonance, and succeeds in doing so honorably. Visniec capitalizes on Kafka’s dramatic flair. Though Mr. K Released is one of his several novels, the RomanianFrench writer is also a poet and most prolifically a playwright, and this shows. Farcical dialogue and cinematic jumps recall the dreamlike irony of a Fellini film, where, indeed, a single male protagonist always finds himself psychologically trapped. The corporeality and fast pace account for its reading like stage direction, and the prose is deliberately expository in the manner of a script. Characters are simple but candid, building strata of...

Speak for Your Self: Psychoanalysis, Autotheory, and The Plural Self

Speak for Your Self:Psychoanalysis, Autotheory, and The Plural Self Carolyn Laubender (bio) "How can a book be both a free expression and a negotiation?" Maggie Nelson, The Argonauts despite his steadfast commitment to being a "man of science," Sigmund Freud had a knack for autobiographical writing. In prefaces, in footnotes, and in parenthetical asides, Freud freely employed allusions to his personal life to help explicate his theories of mind. While some texts like Totem and Taboo and Instincts and Their Vicissitudes contain sly references to Freud's rivalrous friendships and feuds, others like Analysis of a Phobia in a Five-Year-Old Boy, The History of the Psychoanalytic Movement, and Beyond the Pleasure Principle smuggle in narratives from his personal life to substantiate his theoretical excursions. As students of Freud's work learn early on, such autobiographical inclusions litter his writing and provide useful landmarks for making sense of some of his most significant concepts. Indeed, it is difficult to imagine ambivalence be without Eugen Bleuler; the Oedipus complex without Jacob Freud; bisexuality without Wilhelm Fleiss; or the death instinct without Sophie Freud. Freud frequently acknowledged, in letters and in published texts, that self-narration was his own point of entry to what would become psychoanalysis. As Freud realized, The Interpretation of Dreams—that founding ur-text of the field—was essentially a form of experimental, autobiographical writing. However, this was hardly a comfortable recognition for Freud. In the original preface to The Interpretation of Dreams, he anxiously justifies his autobiographical mode, explaining that The difficulties of presentation have been further increased by the peculiarities of the material which I have had to use to [End Page 39] illustrate the interpreting of dreams. … The only dreams open to my choice were my own. … But if I was to report my own dreams, it inevitably followed that I should have to reveal to the public gaze more of the intimacies of my mental life than I liked, or than is normally necessary for any writer who is a man of science and not a poet. Such was the painful but unavoidable necessity; and I have submitted to it rather than totally abandon the possibility of giving the evidence for my psychological findings. (xxiii–xxiv) In this founding moment of psychoanalysis, Freud confronts the features of his work that seem to destabilize the divide between literature and science, requiring (as his work did) narrative methods far more common to poets and storytellers than to scientists. But rather than "totally abandon" his psychological discoveries when the requisite methods challenged the conventional notions of objectivity, Freud dug into the "peculiarities" of his work and embarked on a thoroughgoing analysis of own his dreams. He described this work as an "auto-analysis" and, in doing so, he proleptically joined the autobiographical to what would become the psychoanalytic. Using the technique of free association developed in clinical work with his patients, Freud picked apart accounts of his life and of his dreams, ultimately arriving at his revolutionary theory of the unconscious. Psychoanalysis is, in other words, a modern science born of Freud's deconstruction of self-narration; it is a generalizable theory of mind catalyzed by Freud's experiment with autobiography. Such experimentation with self-narration provides one early example of the multiple ways that critical theory has, in the decades since, reconfigured the relationship between the person of the author and her written texts. Recently, this impulse has (re)emerged in the genre of critical self-narration that Paul B. Preciado has called "autotheory." A supposedly distinct, "genre defying" form of contemporary writing popularized by Maggie Nelson in the mid-2010s, autotheory has been hailed as an alternative to both autobiography and critical theory because of its delivery of a unique style of self-narration in which twentieth-century critical theory melds with representations of personal experience.1 Yet, as Freud's writing shows, some of [End Page 40] the twentieth-century's most important intellectual traditions—from cultural studies to queer theory, psychoanalysis to feminist standpoint epistemology, Audre Lorde to Roland Barthes—have emerged from similar re-narrativizations of the self. Freud's retooling of autobiography in The Interpretation of Dreams constitutes one...

The Blues Come to Texas: Paul Oliver and Mack McCormick’s Unfinished Book by Alan Govenar, and: The Original Blues: The Emergence of the Blues in African American Vaudeville by Lynn Abbott, Doug Seroff

Reviewed by: The Blues Come to Texas: Paul Oliver and Mack McCormick’s Unfinished Book by Alan Govenar, and: The Original Blues: The Emergence of the Blues in African American Vaudeville by Lynn Abbott, Doug Seroff Greg Johnson The Blues Come to Texas: Paul Oliver and Mack McCormick’s Unfinished Book. Compiled by Alan Govenar. Essays by Alan Govenar and Kip Lornell. The John and Robin Dickson Series in Texas Music. (College Station: Texas A&M University Press, 2019. Pp. [xii], 457. $95.00, ISBN 978-1-62349-638-8.) The Original Blues: The Emergence of the Blues in African American Vaudeville. By Lynn Abbott and Doug Seroff. (Jackson: University Press of Mississippi, 2017. Pp. viii, 420. Paper, $40.00, ISBN 978-1-4968-2326-7.) In 1959, pioneering blues researchers Paul Oliver and Mack McCormick began work on an investigation into the history of blues music in Texas. This massive undertaking was almost doomed from the start, as the Oxford, England–based Oliver and the Houston, Texas–based McCormick had to share [End Page 205] research via the postal service, which could take weeks between mailings. As McCormick acknowledged in an early letter to Oliver, “any point-by-point collaboration is impractical at this distance, and would have other difficulties” (p. 2). Regardless, the pair devised a research and writing regimen, with McCormick conducting the on-the-ground fieldwork, interviewing blues musicians, and making recordings of performances; Oliver compiled McCormick’s fieldwork with his own research and wrote the manuscript. The pair worked on this project sporadically until 1978, when communication between them effectively ended. What was eventually diagnosed as bipolar disorder in McCormick also slowed down progress on the book. In periods of mania, McCormick worked tirelessly conducting interviews and gathering census records, news clippings, and other data. The research and collecting expanded to the point that Oliver wrote to McCormick, “I am almost frightened by the amount of material! For it demands to be used and used well. . . . This is obviously a never ending quest” (p. 9). In other phases, McCormick sank into depression, finding work on the project difficult. Frustrations with each other’s interpretations of source material and other aspects of the book led to some heated correspondence between the two. There were various unsuccessful attempts to revive the project, but it was not until Texas blues authority Alan Govenar (author of Texas Blues: The Rise of a Contemporary Sound [College Station, Tex., 2008]; Lightnin’ Hopkins: His Life and Blues [Chicago, 2010]; Living Texas Blues [Dallas, 1985]; and others) met Paul Oliver in 1996, that the process to publish the manuscript was revived. Govenar contacted blues and folk music scholar Kip Lornell (author of, with Charles K. Wolfe, The Life and Legend of Leadbelly [New York, 1992]; and of Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States [Jackson, Miss., 2012]; Happy in the Service of the Lord: Afro-American Gospel Quartets in Memphis [Urbana, 1988]; and others), and the two began the difficult task of bringing Paul Oliver’s unfinished draft to life. Govenar and Lornell are clear that this published work is unfinished. They wanted to present the manuscript as close to the form in which Oliver left it, though with some added contextual information. What was originally conceived as a two-volume work has been composed into a single volume, partly by reducing font size and including two columns of text per page, making this 457-page book effectively 914 pages. In addition to the original manuscript and Oliver’s intended original preface, Govenar and Lornell have added an introduction, explaining the complex history of how this book has finally seen the light of day, and a section titled “Recording the Blues and the Folk Revival: A Prelude,” intended to contextualize this work’s scholarship. Long awaited by blues scholars, The Blues Come to Texas: Paul Oliver and Mack McCormick’s Unfinished Book gives incredibly rich information on the history of blues in the Lone Star State and parts of nearby Louisiana, Oklahoma, and Arkansas. While there is excellent information on well-known Texas artists like Sam “Lightnin’” Hopkins, Blind Lemon Jefferson, and Mance Lipscomb, The Blues Come...

Johannes Hevelius’s Selenographia Manuscript in Vilnius

Johannes Hevelius’s Selenographia Manuscript in Vilnius

중국 명리원전《珞琭子賦注》에 관한 고찰

《Luoluzifuzhu(珞琭子賦注)》 is the old ways in Mingli science textbook, annotated by Litong(李仝) and Wangtingguang(王廷光) of North Song Dynasty onto 《Luoluzifu(珞琭子賦)》, which is said to have been written by Luoluzi(珞琭子), presumed as a cloistral scholar during the ancient era, then Shitanying(釋曇瑩) collected the two scholars’ annotation, added his own annotation during the first year(1127) of South Song Dynasty and published as a textbook, which is included in 《Siku Quanshu(四庫全書)》. Nevethless the reality of Luoluzi is not certain, 《Luoluzifuzhu》, said to be written by him, includes a profound theory of the old ways in Mingli science. 《Luoluzifuzhu》, annotated by tree scholars, Li(李)·Wang(王)·Shi(釋), greatly influenced formation of the theory of the new ways in Mingli science.BR 《Luoluzifuzhu》 included in 《Siku Quanshu》 is composed of 20 chapters in volume 1 and 75 chapters of volume 2, with two textbooks, summary and original preface, volume 1 and volume 2, with no separate mark of passus and chapter. The origial text of Luoluzi is simple, however the annotation of Li·Wang·Shi is very detailed and precise. From volume 1 to chapter 30 of volume 2 include the annotation of Li·Wang·Shi, however the rest chapters from chapter 31 except chapter 62 have Shitanying’s own annotation, who compiled 《Luoluzifuzhu》.BR The awareness and characteristic of Mingli science in 《Luoluzifuzhu》 can be largely summarized into 9, which mostly shows the awareness and characteristic of the old ways in Mingli science well. The major characteristics of the old ways in Mingli science are the theory on three primary dimensions(三元論) of Lu(祿)·Ming (命)·Shen(身) and utilization of Nayinwuxing(納音五行), five pillars of destiny science (五柱) system of the time, day, month, and year of the birth and the month of pregnancy of a person, the theory on basis and main agent(本主論), emphasis of Wangshuaiqiangruo(旺衰强弱) by Nayinwuxing(納音五行), utilization of various Shensha(神煞), and special emphasis on Luma(祿馬). However, emphasis of Wangshuaiqiangruo(旺衰强弱) of the five elements of the universe(五行), utilization of the theory on twelve change of the ten celestial stems(十二運星), viewpoint of obedience and disobedience of Yin-yang(陰陽順逆), yin living and yang death(陰生陽死), yang living and yin death(陽生陰死), the same origin of Water and Soil(水土同宮), utilization of theory on the division of the passing of a person’s destiny(運限論) and the system theory on fruit, flower, sprout and root of tree(根苗花實論), emphasis of the harmony of Yin-yang(陰陽) and emphasis of multi-usability of the five elements, emphasis of combination of the application of the five elements and the cultivation one’s mind and nature(修心養性) are still valid in the current new ways in Mingli science.

Andrés Segovia’s Unfinished Guitar Method: Placing His “Scales” in Historical Context

For over sixty years, guitarists of my generation have been familiar with the so-called Segovia Scales--the systematic scale fingerings advocated by the Andalusian maestro. They have been an influential--some might say a definitive--bestseller since their first USA publication in 1953. Countless guitar students have incorporated them into their daily practice routines. For the publisher, Columbia Music Co., they seem to be the goose that laid the golden egg. Are they everything that Segovia wanted them to be? Two books of recent date on guitar technique attest to their enduring value and relevance. Thomas Offermann wrote in 2015: "The fingerings of the scales used here mostly correspond to those of Andrés Segovia." revised edition of the 1953 publication came out in 1967. It was republished in 2011 and has remained in print. The original preface by Segovia was partly removed and replaced by a "Historical Note" by Thea E. Smith, the granddaughter of the publisher, Sophocles Papas. She attested that they were "one of the best-selling guitar publications of all time.

The Screwtape Letters as Epistolary Fiction

Epistolary fiction, often thought of as an eighteenth-century phenomenon, enjoys considerable vitality in our time and has attracted much welcome critical attention in recent years. The focus, however, has been on selected aspects of the epistolary tradition, to the neglect of others that are part of its rich history. At the same time, discussions of C. S. Lewis's The Screwtape Letters (1942) have generally concentrated on its theological, moral, and satirical aspects, with little consideration of the generic identification declared in the book's title. Attention to its striking affiliations with the epistolary tradition in fiction sheds light on Lewis's artistry in the work, on current critical discourse concerning epistolarity, on Lewis's social and cultural criticism, and on his contributions to critical theory. In the present study, selected aspects of the nineteenth- and early-twentieth-century epistolary tradition are briefly surveyed; then, matters of setting, plot, characterization (especially), and handling of viewpoint in The Screwtape Letters are considered, as well as its widespread debts to the literary heritage and its relationship to Lewis's own contributions as a literary scholar and critic. Attention is given to the implications of Lewis's original preface which has recently been discovered.

Augustus und Florus vor 2000 Jahren: Zur Wiederentdeckung und Rekonstruktion der Originalfassung des Geschichtswerkes des Iulius Florus (14/15 N. Chr.)

The concise history of Rome, covering the 700 years from Romulus until Augustus and composed by an author with the cognomen Florus, is ranked since the Renaissance among the most often printed and most widely read ancient Latin prose works. But whereas this small work was until now commonly supposed to have been written by a “L. Annaeus” oder “P. Annius” Florus during the age of the emperor Trajan (or even later), the present article — based on four essays I have published already more than 20 years ago — demonstrates that almost the entire work was originally composed by a contemporary of Augustus, most likely by the same Iulius Florus to whom Horace addressed two famous letters (I 3 and II 2). We must, indeed, distinguish between two different versions of this work, namely on the one hand the genuine text edited by Iulius Florus, whose name appears as the author in the very important Codex Bambergensis (9th century), immediately after the consecration of the deceased Augustus (17 Sept. 14), and on the other hand a second edition prepared by an anonymous redactor in the era of Trajan (98–117), which was considered a revival of the Golden Age of Augustus; in addition, some further editions appeared later in the second century. All these new editions of Iulius Florus’s work contain just two crucial differences from his original text, namely two short interpolations in Iulius Florus’s preface: the short colon ut postea velut consenuerit, inserted into § 4, and the last sentence (§ 8), added to the original preface. Both interpolations, however, stand in marked contrast to the entire context of Florus’s composition. The main purpose of my article is, therefore, a reconstruction of the original form of Iulius Florus’s historical work, which contained not four or two books (as it is now generally assumed), but only one book, presented as a brevis tabella or breviarium of Roman history.

Tears of the Indies and the Power of Translation: John Phillips' Version of Brevísima relación de la destrucción de las Indias

This paper explores the ideological transformations which have been carried out in producing Tears of the Indies, one of the first English translations of Brevísima relación de la destrucción de las Indias by the Dominican Bartolomé de las Casas, a tract which he addressed to the future King Philip II, and in which he denounced the actions of the conquistadors in the New World. The translator, John Phillips, appropriated the text to create an anti-Spanish narrative with a view to promoting English nationalism as well as encouraging the construction of an English empire in the Americas. The article examines the changes to the title, the replacement of the original preface by one addressed to Oliver Cromwell and the translation strategies adopted, which were intended to portray the Spaniards as a nation of Catholic butchers. Evidence is also provided of the long-lasting influence of this version, which, five centuries later, continues to be used in Anglophone schools and academia (particularly in the United States), in spite of its serious flaws and the existence of more recent and accurate retranslations.

Book Review: The Foundations of Copernicus's Book I: Niccolò Copernico e la Fondazione del Cosmo Eliocentrico, con testo, traduzione e commentario del Libro I de Le Rivoluzioni Celesti

THE FOUNDATIONS OF COPERNICUS'S BOOK I Niccolo Copernico e la Fondazione del Cosmo Eliocentrico, con testo, traduzione e commentario del Libro I de Le Rivoluzioni Celesti. Anna De Pace (Bruno Mondadori, Milan, 2009). Pp. 450. euro32 (paperback). ISBN 978-88-6159071-7.This is a study of the philosophical foundations of Copernicus's planetary theory focused on the first book of De revolutionibus. It contains a new edition with an Italian translation of the manuscript version of Book 1,1-1 1, the original preface (absent in the editio princeps of 1543, published for the first time in the Torun edition of 1 873), and Copernicus's dedicatory letter to Paul DI. Appendices present Copernicus's Latin translation of Lysis's letter to Hipparchus, Osiander's anonymous preface, and Cardinal Schonberg's letter to Copernicus.This new edition aims at bring Book I of De revolutionibus back to the form in which it was presumably conceived by the author (Rosen has already provided the English reader with a translation, On the revolutions (1978), which integrates the printed and the manuscript versions of Copernicus's major work). De Pace explicitly distances herself from the editorial line of the Gesamtausgabe, which relies on the printed edition and relegates the original introduction to an appendix (NCG, ii, 487-8), as well as from the same decision by Lerner and Segonds for the announced Les Belles Lettres edition. De Pace's transcription is accurate and readable; she expands the ligatures and abbreviations and provides some normalization (e.g., capital letters and the distinction of 'u' and V). In some points, she improves and slightly corrects former transcriptions (as emerges from a comparison with NCG). However her normalization is not always consistent (ptolemaeus becomes Ptolemaeus whilst plutarchus is not standardized (p. 256). The Italian translation is elegantly agreeable, an improvement on the already available ones, the most important of which appeared in Barone's edition of Copernicus's astronomical works (Copernico, Opere (Turin, 1979)). The most original renderings of particular terms are discussed and justified in the notes (1,1, 'parte perfetta' for 'absolutae partes', Rosen: 'separate parts'; 1,2, 'cime delle montagne' for 'vertices', Rosen: 'poles'; 1,8, 'corpi integrali' for 'universi' as opposed to the 'partes', Rosen, more elegantly: 'wholes').De Pace presents Copernicus's achievement as essentially philosophical. This undertaking can be regarded as a continuation of a continental scholarly tradition that includes A. Birkenmajer and Bilinski, as well as Barone, Lerner and Hallyn. Moreover, she accepts Koyre's judgement on the importance of the geokinetic theory for the emergence of classical mechanics but questions the claim that no adequate philosophical and physical doctrine supported Copernicus's system. By contrast, she emphasizes his essentially Platonic commitment and the philosophical coherence of his program. Her solid background in the history of philosophy allows her to trace Copernicus's explicit and implicit references to Plato's works, especially Timaeus and Laws, but also Phaedo and Republic. As a strong evidence of Copernicus 's familiarity with Timaeus, she also cites (36-7 ana passim) a passage from Rheticus's Praise of Prussia (cf. Narrano prima, ed. Hugonnard-Roche and Verdert (Wroclaw, 1982), 85-6 and 144) reporting on Copernicus's and Giese's rebuttal of Aristotle's criticism on the geokinetic doctrines of the Pythagoreans and Timaeus. Yet, it should be remarked that this passage merely refers to Aristotle's De caelo 11,13, that is, to an indirect source of the Pythagoreans' and Plato's conceptions.She regards two Copernican ideas as essentially 'Platonic' (p. 38); (i) his claim that the main task of astronomy is to unveil the beauty underlying the cosmos, that astronomical geometries and physical causes shall be derived from higher purposes rooted in God's goodness; (ii) his assertion of the ontological and epistemological priority of astronomy over physics which undermines the Aristotelian hierarchy of knowledge. …

Conflict sociology: a sociological classic updated

Editor's Preface Author's Original Preface Chapter 1: The Bases of Scientific Sociology Chapter 2: A Theory of Stratification Chapter 3: Microsociology and Stratification Chapter 4: A Short History of Deference and Demeanor (with Joan Annett) Chapter 5: State, Economy, and Ideology Chapter 6: Inequalities of Wealth Afterword References Index About the Author and Editor