Dissertations / Theses on the topic 'Incunabula'

The term "incunabula" refers to the transition period that took place 50 years after Johannes Gutenberg introduced his printing press to the publishing world (1455 to 1505). In this thesis, I compare the first incunabula to the current "Digital Incunabula," which I believe is the 50-year transition underway as we assimilate traditional storytelling practices to a digital platform (1996 to 2046). To illustrate this, I review the histories of the literal age, the secondary orality and the digital orality before making some observations about our transition into multimedia storytelling. The paper reviews several key experiments in multimedia storytelling produced by The New York Times, The Rocky Mountain News and The Guardian among others. The paper reviews the influences of consumer electronic devices including tablet computers, augmented reality, virtual reality and artificial intelligence. It also reflects upon nonfiction narrative forms for written and oral communication media. The paper also considers aspects of copyright policy, public media policy and the influences of the "digital disruption." The paper concludes with some observations about the future of long-form, nonfiction storytelling as we move through the 21st century.

propósito deste trabalho é a elaboração de um catálogo dos incunábulos de Juan Carlos Reppucci, que possui importante coleção particular de livros de temática vinária (vinhos, vinhedos, uvas, vindima, viticultura, vinicultura, embriaguez etc.). A partir de um histórico dos incunábulos e da imprensa no século XV, e de sucinta caracterização do acervo, cada um dos 72 incunábulos foi minuciosamente descrito, de acordo com normas destinadas a obras raras, de modo a compor um instrumento de referência para pesquisadores de diferentes áreas.
The aim of this work is to catalogue the incunabula collection of Juan Carlos Reppucci, owner of an extensive library on wine and related themes (wine, grape, vineyard, vintage, drunkenness etc.). After a panoramic view of incunabula and press in the 15th century, and a brief characterization of the whole collection, each of the 72 incunabula was thoroughly described according international rules for rare books, in order to create a reference guide for researchers of different areas.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

As bibliotecas digitais são cruciais à investigação em Humanidades, exigindo maior eficácia e personalização no acesso à informação. No caso dos incunábulos e livro antigo disponibilizados em linha, as exigências da investigação apresentam requisitos específicos de pesquisa e acesso ao conteúdo, de transcrição e marcação do texto, criação de pontos de ligação, nomeadamente, através de sumários com o conteúdo textual e iconográfico das obras e ainda de ferramentas para a tradução do texto. A revisão da literatura teve como referência o domínio emergente das Humanidades Digitais e o das bibliotecas digitais, permitindo caracterizar o estado da investigação, complementada com a investigação em estudos do livro para a descrição de incunábulos e livro antigo. A observação direta de bibliotecas digitais e de coleções de incunábulos e livro antigo disponibilizadas permitiu coletar informação sobre modelos de edição digital e de pesquisa e recuperação da informação, bem como identificar e avaliar as particularidades inerentes a essas obras e a forma como estas afetam a sua disponibilização em linha. O método de investigação incluiu ainda a interação com um grupo focal com investigadores em Humanidades com o objetivo de recolher dados acerca da forma como utilizam as bibliotecas digitais, das vantagens ou desvantagens que reconhecem na utilização das bibliotecas digitais face às congéneres físicas e das expectativas que têm para a sua otimização e maior adequação à investigação, e a validação dos resultados por um painel de investigadores em Humanidades; Digital library for Humanities: new challenges and opportunities Abstrat: Digital libraries are crucial to the research in Humanities, requiring more efficiency and flexibility in tailoring the access to the information. The body of incunabula and antique books available on line is expressive and tends to correspond to the Humanities research demands, stressing the need to improve instruments to the research and access to the works content: text transcription and text markers; creation of connection points, such as summaries with the works textual and iconographic content; implementation of translation tools. Literature review about digital libraries was articulated with the Digital Humanities issues, consenting to characterise the current state research and to identify new projects in this domain; it was complemented with the research in book studies to describe incunabula and antique books concepts. The direct observation of digital libraries websites and incunabula and antique books collections available in digital libraries allowed to collect data about digital edition and research and retrieval data models, as well as to identify the incunabula and antique books specific features and the way how these interferes in making them available online. The research method included the interaction with a focal group with Humanities researchers with the goal of collect data about the way how they use digital libraries, the advantages and disadvantages towards their physical congeners and their expectations for improvement and better correspondence to the research. The results were validated by a Humanities researcher’s panel.

Oggetto della presente tesi magistrale è la catalogazione del fondo antico, ovvero incunaboli e cinquecentine, della biblioteca un tempo appartenente alla nobile famiglia padovana Arrigoni degli Oddi, da gennaio 2019 riunificata all'archivio di famiglia conservato presso l'Archivio di Stato di Padova. La descrizione degli esemplari, catalogati in OPAC SBN, è preceduta da un'introduzione storico-istituzionale riguardante il casato Arrigoni degli Oddi, dalle origini medievali all'istituzione della Fondazione Culturale sorta per tutelare i beni di famiglia, fino alla destinazione statale del patrimonio culturale. Segue un'analisi storico-bibliografica che approfondisce la storia della biblioteca, la sua consistenza e gli strumenti catalografici realizzati nel corso del tempo, anche in relazione alle carte d'archivio, insieme ad un approfondimento sulla presenza delle biblioteche negli Archivi di Stato. Infine viene affrontato lo studio puntuale del fondo antico sulla base dei dati ricavati durante il processo di catalogazione, esaminandone gli aspetti editoriali e materiali, analizzando le precedenti collocazioni rilevate sui volumi ed evidenziando gli esemplari rari. Il catalogo è arricchito da un elenco dei possessori, un prospetto sullo stato di conservazione dei beni, indici finali ed appendici iconografiche e documentarie.

La mia tesi di laurea magistrale si prefigge di affrontare un tema centrale all’interno degli studi storico artisti e letterari del Rinascimento, la riscoperta – prima – e la fortuna – poi – di un testo antico a classico come le “Metamorfosi” di Ovidio, che, soprattutto a Venezia, grazie alle realtà editoriali e artistiche cittadine, visse una seconda e nuova vita, estremamente più viva, lunga e articolata rispetto a quella creatasi attorno allo stesso testo nelle altre città italiane ed europee dell’epoca. La pubblicazione della prima edizione volgare italiana e illustrata delle Metamorfosi di Ovidio stampata da Giovanni Rosso da Vercelli per Lucantonio Giunta il 10 aprile 1497 rappresenterà l’oggetto principale di questo studio. L’incunabolo verrà dapprima contestualizzato all’interno della storia del libro tipografico veneziano delle origini, e in seguito verrà analizzato il suo importante apparato illustrativo attraverso l’opera di alcuni possibili disegnatori e intagliatori di xilografie attivi a Venezia a quel tempo.

La vie, les travaux et l'oeuvre d'emile reynaud (1844-1918). Avec son "praxinoscope" (1877), puis son "theatre-optique " (1888) exploite de 1892 a 1900 au musee grevin de paris sous l'appellation "pantomimes lumineuses" : series de saynetes de durees illimitees peintes sur bandes souples perforees; animees, en couleur, avec relief du personnage sur le decor, effets sonores electriques, et projetes sur un ecran, cet inventeur francais meconnu a justement merite le titre de grand pionnier du dessin anime et de precurseur du spectable cinematographique. Ce travail portant sur le pre-cinema, replace emile reynaud dans son contexte particulier et revele sa veritable stature debarassee de toute martyriologie hagiographique
The life, works and creation of emile reynaud (1844-1918). With his "praxinoscope" (1877), then this "optic theatre" (1888) exploited from 1892 to 1900 by the musee grevin of paris, under the appellation of "pantomimes lumineuses", several series of playlets of unlimited duration, painted on supple perforated film, animated, in colour, with the characters in relief against the background, electric sound effects, and projected on a screen, this unknown french inventor rightly deserved the title of outstanting pioneer of the animated cartoon and the precursor of the cinematographic spectacle. This work, treating of pre-cinema , re-instates emile reynaud in his specific context and brings to light his veritable stature stipped of all hagiographic martyriology

Aucun manuscrit d’Ogier le Danois en prose ne nous est parvenu. Nous en conservons néanmoins les trois premiers imprimés : Lyon, Jean de Vingle, 1496 ; Paris, « pour » Antoine Vérard, s.d. ; Paris, Le Petit Laurens, s.d. L’objectif de la thèse est de fournir la première édition critique de cette prose, à partir de l’exemplaire de Paris de l’édition « pour » Vérard, conservé à la BnF. Le texte édité est assorti des variantes offertes par les deux autres témoins, de notes, d’un glossaire détaillé, d’un index des noms propres et d’une liste des expressions proverbiales. La lecture du texte est préparée par une introduction qui traite les points suivants : étude des trois premiers imprimés (description, classement, choix de l’imprimé de base) ; Antoine Vérard ; sources de la prose ; postérité de la prose, à savoir les éditions du XVIe siècle (présentation et classement) et les éditions et traductions ultérieures ; établissement du texte ; étude de la langue (phonétique et graphies, morphologie, syntaxe, lexique), caractéristique du moyen français et marquée par quelques traits dialectaux du Nord et de l’Est ; analyse du texte ; enfin, étude littéraire visant notamment à évaluer le travail de réécriture opéré par le prosateur à partir de sa source (le remaniement en alexandrins daté du milieu du XIVe siècle) et à analyser le style de l’auteur, typique de l’« écriture flamboyante » du XVe siècle
No manuscript of Ogier le Danois in prose became known to us. However, we conserve the three first printed editions : Lyon, Jean de Vingle, 1496 ; Paris, « pour » Antoine Vérard, s.d. ; Paris, Le Petit Laurens, s.d. The aim of the thesis is to provide the first critical edition of this prose from the exemplary of Paris from Vérard’s edition, preserved in the BnF. The revised text is presented with variants given by the other two printed editions, notes, a glossary, an index of proper nouns and a list of proverbial phrases. The reading of the texte is preparing by an introduction that deals with these following points : study of the three first printed editions (description, classification, selection of one exemplary, revision of the text) ; Antoine Vérard ; prose’s sources ; prose’s posterity with the editions dating from the XVIth century (presentation and classification) and the later editions and traductions ; revision of the text ; linguistic study (phonetic and written forms, morphology, syntax, vocabulary), charactéristic of middle french, with some dialectal traits from the North and the East ; analysis of the story ; finally, literary study aiming in particular at assessing the rewriting work made by the prose writer from the source (the poem in alexandrine dating from the XIVth century) and the style of the author, typical of the flamboyant writing of the XVIth century

Pedro de Gracia Dei fue un cronista y poeta de finales del siglo XV y principios del XVI, vinculado durante la mayor parte de su vida a círculos regios y nobiliarios gracias a las relaciones de mecenazgo, como la que mantuvo con la corte de los Reyes Católicos o el entorno de Gonzalo Fernández de Córdoba, el Gran Capitán. Gracia Dei nos dejó como legado literario una modesta pero importante nómina de textos que ha tenido una amplia difusión manuscrita a lo largo de casi cinco siglos, arco cronológico que revela un especial interés por el autor. A pesar de ello, sus composiciones poéticas no han recibido la atención necesaria, como evidencia la escasez de estudios literarios o la ausencia de ediciones críticas. Es por ello que, en esta investigación, nos centramos, por un lado, en la transmisión de la obra en verso de Gracia Dei desde una perspectiva de poesía de cancionero y, por otro, en el análisis detenido de uno de sus poemas: la Criança y virtuosa dotrina. Se trata del único texto poético del autor que llegó a la imprenta y que a día de hoy conservamos, pues, desgraciadamente, las Exçelencias de la reyna doña Isabel se han perdido. La Criança se imprimió en salamanca en una fecha cercana a 1488 y solo se conserva un ejemplar de esta edición que, además, está incompleto por el final. La Criança y virtuosa dotrina es un poema narrativo-alegórico formado por 1264 versos, dedicado a la infanta Isabel, primogénita de los Reyes Católicos. En este trabajo abordamos el estudio literario de la obra desde varias perspectivas que, hasta el momento, no se habían contemplado. Asimismo, ofrecemos, por primera vez, una edición crítica del texto, con una exhaustiva anotación de carácter literario, histórico, lingüístico e interpretativo.

Das Kreuzherrenkloster Hohenbusch bei Erkelenz (Niederrhein) wurde 1802 während der Säkularisation linksrheinischer Gebiete aufgehoben. Etwa 130 Handschriften und frühe Drucke aus seiner Bibliothek befinden sich heute vorwiegend in der Diözesanbibliothek Köln sowie in München, Brüssel, New York u.a. Ein 1801 im Auftrag der französischen Verwaltung erstelltes Inventar von 265 konfiszierten Büchern bildet das einzige Verzeichnis der ehemaligen Klosterbibliothek. Auf der Grundlage dieses Inventars und der erhaltenen Bestände unternimmt die Studie eine Teilrekonstruktion der Bibliothek. Schreibhände, Buchschmuck, Einbände, Besitzeinträge und Marginalien werden erfasst und beschrieben. Die inhaltliche Analyse des Bestandes belegt, dass sich Geschichte, Spiritualität und intellektuelle Ausrichtung des Klosters auch im Restbestand der Bibliothek spiegeln. Um sich in kulturhistorischer, interdisziplinärer Herangehensweise der sozialen und kulturellen Lebenswelt der Kreuzherren zu nähern, wird die Metapher des ‚Wissensraums‘ verwendet. Von dreidimensionaler Beschränkung befreit, umschreibt sie die Bibliothek als dynamischen Wissenskatalysator, der zu verschiedenen Zeiten die Generierung neuen Wissens auf der Grundlage vorhandener Informationen ermöglicht. Zwei Bestandsschnitte bei den Jahren 1520 und 1700 belegen so den Wandel des Klosters: Verstand es sich anfangs als geistlich-seelsorglich ausgerichtetes Haus, das später für die ordensinterne Ausbildung bedeutend wurde, ließen zuletzt Grundbesitz und zunehmender Wohlstand juristisch-administrative Fragen in den Vordergrund treten.
The Crosier monastery of Hohenbusch, situated between Cologne and Aix-la-Chapelle, was dissolved in 1802, on the occasion of the secularization of church property. About 130 manuscripts and early prints from the canonry’s library survived in the diocesan library of Cologne, as well as in libraries in Munich, Brussels, New York etc. An inventory of 265 confiscated books, drawn up on behalf of the French administration in 1801, represents the only description of the former monastery library. The study attempts a reconstruction of the library based on this inventory, and on the material properties of the extant books. Script, book illumination, binding, ownership records and marginal notes in the books are therefore described. An analysis of the contents of the known books shows that they still reflect the history, spirituality, and intellectual bias of the canonry. The German metaphor ‘Wissensraum’ (knowledge space) shall help to approach the social and cultural life of the Crosiers. Perceived as a cultural concept beyond all restrictions of space, the metaphor aims to describe the library as a dynamic instrument which allows generating new knowledge based on existing information. A look on two segments of the library, the first up to the year 1520, the second up to 1700, shows how the monastery changed: Starting in a spiritual and pastoral orientation, it became an important house for the spiritual formation of novices, while at the end, due to its increasing land ownership, and prosperity, legal and administrative questions predominated.

Orientador: Milton Jose de Almeida
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2019-01-04T15:17:55Z (GMT). No. of bitstreams: 1 Rodrigues_UbirajaraAlencar_M.pdf: 90714835 bytes, checksum: 3a881fbca943a7ba06c7c2e7fcb234a1 (MD5) Previous issue date: 2008
Resumo: Esse texto é uma introdução ao livro "Hypnerotomachia Poliphili", de autoria do dominicano Francesco Colonna, publicado em 1499 pelo editor Aldo Manuzio. É também uma introdução às técnicas da impressão xilográfica utilizadas nas ilustrações desse livro, e à história da tipografia veneziana em fins do século XV. A concepção gráfica e visual desse livro famoso são modelares e persistem até hoje
Abstract: This is an introduction to the book "Hypnerotomachia Poliphili", from dominican Francesco Colonna, and published by Aldo Manuzio, in 1499. It's also na introduction to the techniques of xylography printing used to illustrate this book, and the history of venetian typography at the end of the 15th century. The graphic tradition and visual approach of this remarkable book persist as model up to now
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação

La tesi ripercorre le vicende della Biblioteca Nazionale Braidense durante il ventennio di dominazione napoleonica in Italia, periodo ancora poco conosciuto nella storia dell’istituto milanese. Il lavoro ha visto la combinazione di diversi tipi di ricerca, da quella archivistica a quella storica, prendendo in analisi collezioni particolari e inedite della biblioteca stessa, siano esse manoscritti o libri a stampa, che hanno permesso di individuare le peculiarità della gestione corrente dell’istituto e le relazioni instauratesi oltralpe durante la dominazione francese in Italia. Dopo un primo capitolo dedicato allo status quaestionis sugli anni della fondazione della biblioteca, quelli successivi ripercorrono le fasi dell’istituto milanese, suddivise in tre specifici periodi: la Repubblica Cisalpina, la Repubblica Italiana e il Regno d’Italia. Sono così messe in luce le divergenze di questi periodi, sottolineando come dopo le difficoltà dei primi anni la Braidense visse un tempo di crescita, sia per l’arricchimento di volumi sia per il sempre maggior prestigio e riconoscimento, non solo in Italia ma anche in Europa.
This thesis traces the events of the Braidense National Library during the Napoleonic period in Italy, a period that is still little known in the history of the Milanese institution. The work has involved a combination of different types of research, from archival to historical, analysing particular and unpublished fonds of the library itself, whether manuscript or printed, which have made it possible to identify the peculiarities of the daily management of the institution and the relations established beyond the Alps during the French domination in Italy. After an initial chapter dedicated to the status quaestionis on the years of the library's foundation, the following chapters trace the phases of the Milanese institute, divided into three specific periods: the Cisalpine Republic, the Italian Republic and the Kingdom of Italy. The divergences of these periods are thus highlighted, underlining how after the difficulties of the first years the Braidense experienced a moment of growth, both for the enrichment of volumes and for the growing prestige and recognition, not only in Italy but also in Europe.

Avec l’introduction d'ateliers à l’université de Paris en 1470 commence l'histoire de l'imprimerie dans l'espace francophone. Un des fondateurs fut l'érudit allemand Johannes Heynlin von Stein. Il marque le début d'un développement durant lequel les imprimeurs allemands furent d'une importance décisive : Jusqu'en 1500, sur 40 villes francophones dans lesquelles nous pouvons attester la présence d’au moins une imprimerie, onze ont été introduites par des Allemands. Ils les ont installées surtout dans le sud-est du royaume de France ainsi que dans le Duché de Bourgogne, le Comté de Bourgogne et dans les régions de la Suisse francophone actuelle. Ce bouleversement important de l'histoire des médias était le sujet de la thèse. À la base d'une méthode sur l'histoire de la matérialité, l'étude montre que les imprimeries devaient être à la croisée de différents développements. L'étude examine les biographies des imprimeurs, présente leurs programmes d’imprimerie, décrit le milieu universitaire, urbain et monastique et épluche les éditions qu’ils ont imprimé. Elle a permis de comprendre la complexité transitionnelle entre l’époque des manuscrits et celle des livres imprimés, des sociétés non-typographiques aux sociétés typographiques. Finalement, l’analyse met en évidence que les premiers imprimeurs allemands furent un groupe communicatif en mouvement ayant un réseau au-delà des frontières qui peut être considéré comme exemplaire pour l’histoire de l'imprimerie en France et et même en Europe. En analysant en détail un groupe important des imprimeurs cette approche présente des nouveaux résultats quant à l'histoire précoce de l'imprimerie française et incite à un dialogue scientifique international
With the establishment of a press at University of Paris in 1470, the history of printing presses in the French speaking world began. One of the founders was the German scholar Johannes Heynlin von Stein. He marks the start of a historically significant development in which printers from the Holy Roman Empire are of central importance. In the 15th century, it were in fact German printers who took the initiative to establish printing presses in eleven out of forty French cities. Geographically, those presses were predominantly located in the southeast of the French Kingdom and in the Duchy of Burgundy, in the Palatinate County of Burgundy, as well as in the region of what is today the French-speaking part of Switzerland. This media-historically important transition is the focus of this dissertation. On the basis of a profound methodology rooted in the history of materiality, the thesis shows that printing presses must be understood as an intersection of different developments. A comprehensive examination of the biographies of the respective printers and their printing portfolios are presented. Additionally, this thesis records the university, urban and monastic environment of the presses and critically evaluates the printed editions. By doing so, it is possible to work out in detail – while always referring to the sources – the complexity of the transition from a period of manuscripts to a period of printed books. Hence, a transition from non-typographic to typographic societies. Finally, this thesis proves that the German printers were a communicative and trans-border networked group which exemplarily stands for the French and partly for the European history of the printing press in the 15th century. By precisely and extensively analysing one of the most important groups of printers in the 15th century, this thesis allows for new insights to the history of early French printing presses and therefore seeks to fill a gap in academic literature. Furthermore, it encourages an international and scientific dialogue
Mit der Einrichtung einer Buchdruckerei in der Universität Paris im Jahre 1470 beginnt die Geschichte des Buchdrucks im französischsprachigen Raum. Einer der Gründer war der deutsche Gelehrte Johannes Heynlin von Stein. Er steht am Anfang einer Entwicklung, in der den Druckern aus dem Heiligen Römischen Reich entscheidende Bedeutung zukam - in elf von rund 40 französischen Städten, in denen in der Inkunabelzeit eine Druckerpresse eingerichtet wurde, ging die Initiative von deutschen Druckern aus. Sie waren vor allem im Südosten des Königreichs Frankreich sowie im Herzogtum Burgund, in der Freigrafschaft Burgund und in Gebieten der heutigen französischsprachigen Schweiz präsent. Dieser mediengeschichtlich bedeutsamen Umbruchphase widmet sich die vorliegende Untersuchung. Auf der Basis einer materialitätsgeschichtlich fundierten Methode kann gezeigt werden, dass die Druckereien als Kreuzungspunkte unterschiedlicher Entwicklungslinien verstanden werden müssen. Die Studie untersucht die Biographien der Drucker, stellt ihr Druckprogramm vor, erfasst das universitäre, städtische oder monastische Umfeld der Pressen und wertet die von ihnen produzierten Ausgaben aus. Auf diese Weise kann detailliert, und stets mit Bezug auf die Quellen, die Komplexität des Übergangs vom Handschriften- zum Druckzeitalter, von non-typographischen zu typographischen Gesellschaften herausgearbeitet werden. Darüber hinaus wird nachgewiesen, dass es sich bei den deutschen Erstdruckern um eine kommunikative und über Ländergrenzen hinweg breit vernetzte Gruppe handelt, die als exemplarisch für das französische sowie in Teilen auch für das europäische Druckwesen des 15. Jahrhunderts gelten kann. Dieser Ansatz einer präzisen und umfassenden Auseinandersetzung mit einer bedeutenden Gruppe von Buchdruckern präsentiert neue Erkenntnisse zur Geschichte des frühen französischen Buchdrucks und regt zur Intensivierung des internationalen Forschungsdialogs an

Il lavoro ha indagato alcuni aspetti del primo trentennio di vita dell'officina tipografica bolognese fondata da Francesco Platone de' Benedetti (1482-1496), focalizzandosi in particolare sulla produzione del primo erede, il nipote Giovanni Antonio (1499-1512), sui rispettivi cataloghi culturali e, infine, sul mercato librario bolognese a cavallo fra il XV e il XVI secolo. Tre i punti nodali della ricerca: 1) la rappresentazione del circuito intellettuale che gravitò attorno ai due de’ Benedetti, con particolare attenzione per i curatori editoriali; 2) l’accertamento delle edizioni sine notis ancora da attribuire in via definitiva a Francesco de’ Bendetti, per una comparazione credibile dei cataloghi di zio e nipote e per comprendere, fin dove possibile, le logiche commerciali che Francesco progettava per la sua azienda; 3) un’analisi del progetto culturale di Francesco de' Benedetti basandosi sul suo inventario di magazzino, da cui si evincono: il pubblico cui l’officina mirò, le coordinate (geografiche e culturali) del mercato del libro a Bologna sullo scorcio del secolo XV, i confini del network commerciale in cui Platone de’ Benedetti seppe inserire la sua impresa.
The research has investigated some aspects of the first three decades of the bolognese typography founded by Francesco Platone de 'Benedetti (1482-1496), focusing, in particular, on the production of the first heir, his nephew Giovanni Antonio (1499-1512), on their cultural catalogs and, finally, on the book trade in Bologna between Fifteenth and Sixteenth centuries. Three key points of the research: 1) the representation of the intellectuals (their life, their work) gravitated around the typography, with particular attention to the editors; 2) analysis of the sine notis editions still attributed to Francesco Benedetti, for a comparison of the catalogs of uncle and nephew, and to understand, as far as possible, the commercial logic Francesco was planning for his business; 3) an analysis of Francesco Benedetti's cultural project, based on his famous shop inventory, from which can be deduced: the custumers the typography aimed to, geographical and cultural coordinates of the book trade in Bologna at the turn of the XV century, the shape of the commercial network in which Francesco de 'Benedetti entered his business.

Il lavoro ha indagato alcuni aspetti del primo trentennio di vita dell'officina tipografica bolognese fondata da Francesco Platone de' Benedetti (1482-1496), focalizzandosi in particolare sulla produzione del primo erede, il nipote Giovanni Antonio (1499-1512), sui rispettivi cataloghi culturali e, infine, sul mercato librario bolognese a cavallo fra il XV e il XVI secolo. Tre i punti nodali della ricerca: 1) la rappresentazione del circuito intellettuale che gravitò attorno ai due de’ Benedetti, con particolare attenzione per i curatori editoriali; 2) l’accertamento delle edizioni sine notis ancora da attribuire in via definitiva a Francesco de’ Bendetti, per una comparazione credibile dei cataloghi di zio e nipote e per comprendere, fin dove possibile, le logiche commerciali che Francesco progettava per la sua azienda; 3) un’analisi del progetto culturale di Francesco de' Benedetti basandosi sul suo inventario di magazzino, da cui si evincono: il pubblico cui l’officina mirò, le coordinate (geografiche e culturali) del mercato del libro a Bologna sullo scorcio del secolo XV, i confini del network commerciale in cui Platone de’ Benedetti seppe inserire la sua impresa.
The research has investigated some aspects of the first three decades of the bolognese typography founded by Francesco Platone de 'Benedetti (1482-1496), focusing, in particular, on the production of the first heir, his nephew Giovanni Antonio (1499-1512), on their cultural catalogs and, finally, on the book trade in Bologna between Fifteenth and Sixteenth centuries. Three key points of the research: 1) the representation of the intellectuals (their life, their work) gravitated around the typography, with particular attention to the editors; 2) analysis of the sine notis editions still attributed to Francesco Benedetti, for a comparison of the catalogs of uncle and nephew, and to understand, as far as possible, the commercial logic Francesco was planning for his business; 3) an analysis of Francesco Benedetti's cultural project, based on his famous shop inventory, from which can be deduced: the custumers the typography aimed to, geographical and cultural coordinates of the book trade in Bologna at the turn of the XV century, the shape of the commercial network in which Francesco de 'Benedetti entered his business.

L’edizione in questione si conserva in un unico esemplare contrastampato presso la British Library di Londra e, nell’ISTC, è catalogata: «Matteo Franco, Poesie», ma non trasmette rime del solo prete fiorentino. Aprendo l’in-quarto ci si trova davanti a ballate e rispetti riconducibili – per circolazione e per composizione verosimilmente, certamente per gusto – all’ambiente laurenziano; alcuni di questi testi, come mostra la tradizione, rimontano alla letteratura popolaresca trecentesca e protoquattrocentesca, da Boccaccio in poi. Questa tesi ha la pretesa di fornire una mappa per quanto approssimativa della tradizione manoscritta e a stampa di quei componimenti. Tirare le fila di questo lavoro ha significato ripercorrere all’indietro la storia e i tragitti che hanno portato i testimoni di quelle rime a disperdersi non per la sola Europa, ma anche negli Stati Uniti, nel mondo ‘nuovo’ di cui Lorenzo non sospettava l’esistenza.

La ponctuation du français médiéval reste de façon générale un domaine peu étudié, malgré un certain nombre de recherches menées dans le domaine depuis une trentaine d'années. Généralement « masquée » par les pratiques d'édition « scientifique », elle constitue pourtant une donnée linguistique non négligeable : elle révèle les structures dont le texte était constitué pour le « sujet écrivant » et donne au lecteur une orientation dans l'interprétation du message écrit. La présente thèse vise à contribuer à la connaissance des grandes tendances de l'évolution des pratiques de la ponctuation dans les manuscrits et incunables français grâce d'une part au développement d'une méthodologie de représentation des données primaires et d'analyse linguistique de ces données tenant compte de multiples facteurs de variation et, d'autre part, grâce à l'apport de nouvelles données factuelles et à leur interprétation. L'analyse linguistique effectuée se base sur une approche fonctionnelle de la langue, qui considère l'oral et l'écrit comme des systèmes de marques remplissant un certain nombre de fonctions. Sont donc étudiés non seulement les signes de ponctuation, mais aussi les marques linguistiques pouvant l'accompagner dans la structuration du texte à ses divers niveaux. L'étude a été menée à partir d'un corpus de transcriptions « multi-facettes » de 29 extraits de manuscrits et d'incunables (28 000 occurrences-mots) exhaustivement annoté en « unités ponctuables ». Les transcriptions encodées en XML sont conformes aux recommandations de la TEI et sont intégrées à la Base de Français Médiéval .

Cette thèse veut déterminer la contribution de Julien Macho, membre de l’Ordre des ermites de saint Augustin de Lyon, à la vie culturelle de son époque. Son œuvre n’est pas, à proprement parler, une œuvre originale, mais un ensemble de traductions du latin au français, de corrections et d’éditions de textes religieux ou moraux. Ses livres ont été publiés dans une courte période, entre 1473 et 1480, et plusieurs rééditions, de la fin du 15e s. et du début du 16e s., sont connues. Il est question, à cette époque, à Lyon comme ailleurs en France, d’un grand désordre dans l’organisation religieuse et les critiques se font entendre de part et d’autre du pays. Devant la décadence de l’Église, la piété privée commence à se développer, une piété qui a besoin d’un nouveau support pour rendre accessibles les enseignements moraux à une population bourgeoise de plus en plus lettrée. Or, conscient de ces récents développements, Macho oriente tout son travail dans le but précis de rejoindre, en langue vernaculaire, un vaste auditoire. L’objectif de cette thèse de doctorat est d’analyser une partie de l’œuvre de Macho dans le but de mieux comprendre les intentions de l’auteur. Ce but premier permettra aussi de documenter, par un biais nouveau, une période charnière du développement intellectuel occidental, le passage du Moyen Âge à la Renaissance. Le travail comporte trois parties. Dans la première partie, il a fallu entreprendre une étude approfondie des contextes social, historique et intellectuel de cette période : tout d’abord, l’histoire de l’Ordre des ermites de saint Augustin et de l’enseignement offert à leurs membres, dans le contexte de la spiritualité en France à la fin du 15e siècle; par la suite, il convenait de présenter un survol de la ville de Lyon, de son Église et du développement de l’imprimerie dans cette ville. La deuxième partie porte sur les œuvres attribuées, à tort ou à raison, à Macho, vu la carence de recherches sur Julien Macho lui-même, et sur une enquête systématique pour apporter une preuve de l’existence de ce traducteur. La troisième partie s’attache à une lecture de deux œuvres de l’augustin lyonnais : une de longue tradition littéraire, Ésope, l’adaptation d’un recueil de fables, et une religieuse, rattachée à la pratique religieuse contemporaine, le Mirouer de la redemption de lumain lignage. Ésope est l’œuvre la plus originale de Macho, c’est-à-dire l’ouvrage où il est le plus intervenu comparativement au texte original. La comparaison avec sa source, l’Äsop latin-allemand d’Heinrich Steinhöwel, a montré comment le fabuliste lyonnais s’en est détaché pour ajouter à son texte un grand nombre de proverbes. Le Mirouer de la redemption de lumain lignage, une somme de toutes les observances de la vie religieuse et des lectures qu’un chrétien doit connaître, intègre des parties d’une autre œuvre bien connue, la Légende dorée, une pratique que l’on ne retrouve pas dans les autres traductions françaises du Speculum humanae salvationis. Loin d’être une analyse exhaustive de l’œuvre, la compilation des citations et du contenu même du texte permet de cerner en quoi consistait une certaine pratique de la religion au 15e siècle. Il en résulte un panorama du contexte culturel dans lequel vivait Julien Macho, théologien, prieur et traducteur et des œuvres qui lui sont attribuée. Un personnage dont l’étude montre un intellectuel représentatif de son époque, la fin du 15e siècle.
The purpose of this thesis is to identify the contribution of Julien Macho, a member of the Order of Augustinian Hermits in Lyon, to the cultural life of his period. His work is not, strictly speaking, original, but rather a series of translations from Latin to French, and corrections and editions of religious and moral texts. His books were published over a short period, from 1473 to 1480, and were followed by many more editions in the late 15th century and the early 16th century. During that period, in Lyon as elsewhere in France, there was a great deal of disorder in the religious establishment and criticism was being heard throughout the country. In response to the decadence of the Church, private piety was starting to develop, piety that needed a new medium in order to make moral teachings accessible to a more and more literate bourgeois population. Well aware of these recent developments, Macho directed all his work toward the precise goal of reaching a broad audience using vernacular language. The objective of this doctoral thesis is to analyze part of Macho's work in order to better understand the intentions of the author. This primary goal will also make it possible to document, from a new perspective, a key period in Western intellectual development, the transition from the Middle Ages to the Renaissance. The work is divided into three parts. The first part is a detailed study of the social, historical and intellectual contexts of the period: first the history of the Order of Augustinian Hermits and the instruction given to its members, in the context of spirituality in France at the end of the 15th century. This is followed by an overview of the city of Lyon, its Church and the development of printing in the city. Part two discusses the works attributed to Macho, rightly or wrongly, in view of the lack of research on Julien Macho himself, and presents a systematic survey of the evidence of the existence of this translator. Part three consists of a reading of two works of the Augustine monk of Lyon: one from a long literary tradition, Ésope, an adaptation of a collection of fables, and a religious work related to contemporary religious practice, the Mirouer de la redemption de lumain lignage. Ésope is Macho's most original work, i.e., the book in which he intervened the most with respect to the original text. A comparison with its source, the Latin-German Äsop by Heinrich Steinhöwel, shows how the fable writer from Lyon moved away from his source, adding a large number of proverbs to his text. Mirouer de la redemption de lumain lignage, a summary of all the observances of religious life and readings that a Christian should know, includes parts of another well known work, the Golden Legend, a practice that we find in the other French translations of the Speculum humanae salvationis. Far from being an exhaustive analysis of the work, the compilation of quotations and of the very content of the text makes it possible to identify what a certain practice of religion in the 15th century consisted of. The result is a panorama of the life and work of Julien Macho, theologian, prior and translator. This study reveals an intellectual who is representative of his period, the late 15th century.

This presented diploma thesis deals with a list of manuscripts and old prints stored within the library collections of the Museum in the Middle Pootaví in Strakonice. After the total research of the book collection was allocated 83 manuscripts, one incunabula and 291 titles of old prints. On the basis of these lists was executed the detailed description, parsing and analysis of manuscripts and old prints. This work is divided into five chapters. In the introductory chapter are presented the purpose of this diploma thesis and critique of the used sources and literature. In this chapter is incorporated a short passage with general informations about museums and their libraries. The second chapter briefly attends to history of the museum in Strakonice. The third part of the thesis informs about history and development of the museum library in Strakonice. The fourth chapter analyses closely the manuscripts, incunabula and old prints. The collection of old prints was subjected to the linguistic, chronological and territorial description. Then follows analysis of printers and publishers, mentions of provenance of old prints (for example ex-librises, notes in the text, stamps etc.) and books allocations into thematic groups with specific examples of prints. The final chapter contains total summary and importance of this work. The list of sources and literature, the list of the abbreviations and the list of supplements (tables, graphs and photographs) are attached to the end of diploma thesis. A component of the diploma thesis is also the commentaries to the created lists and the extensive lists of the manuscripts and old prints.

This project studies the ways recent changes in cultural theory and information technology are influencing the delivery of texts, and how these changes signal a need for innovation in editing practice. The word incunabulum describes the material objects produced in the early stages of the development of a technology; most commonly, it refers to printing during the period just before the turn of the sixteenth century when material textuality in the west was changing from a manuscript to a print base. According to critics of digital culture like Janet Murray the current shift to digital media entails many of the same changes. Following this, I will refer to this period as the second incunabulum. Given the limitations of HTML and SGML markup and storage technologies used in early digitization projects, scholars realize that the second incunabular period, much like the first, will not be a simple linear change succession. Just as the shift from manuscript to print involved a multifaceted series of complex social and practical transformations over decades, our current technological transition generates a wide variety of communicative, cultural, and political implications. As a critical point of entry, the comparison of the first and second incunabular periods offers insight into the ways in which past practices can help us approach our textual future. As a broad study of highly particular textual practices, the current work presents something of a paradox. However, through a series of focused historical readings and formal applications, this trans-historical study provokes questions that may lead to effective new work in the field. In Theories of the Text, leading editorial theorist D.C. Greetham points out the need to study the same three projects that I examine: William Langland's Piers Plowman, The Oxford Shakespeare, and James Joyce's Ulysses. By examining the editorial practices underlying each work, I develop a theory of editing based on a form of philological critique that engages with problems faced by many current research projects and which provides suggestions for further research.
Graduate

La tesi indaga il fenomeno della pubblicazione di descrizioni di matrimoni principeschi in Italia durante l’età degli incunaboli e valuta come esso si inserì nel quadro della committenza di libri destinati alla biblioteca del principe, proponendo l’impego degli opuscoli nuziali come fonti per lo studio dello spettacolo rinascimentale.

La tesi presenta un’indagine sulla ricezione del corpus tragico di Seneca in età umanistica, focalizzandosi in particolare sulle edizioni a stampa (incunaboli e cinquecentine fino all'anno 1514) e sui volgarizzamenti. Il primo capitolo riassume brevemente la circolazione delle tragedie senecane nei codici manoscritti durante il Medioevo. Il secondo capitolo contiene il catalogo e la descrizione delle edizioni a stampa delle tragedie dall'editio princeps (Ferrara, ante 17 dicembre 1478) all'edizione a tre commenti a cura di Josse Bade (Parigi, 5 dicembre 1514). Per ciascuna edizione, si analizzano i paratesti (prefazioni, lettere di dedica, commenti, componimenti poetici, illustrazioni) e si ricostruiscono le identità delle personalità che contribuirono alla pubblicazione (editori, commentatori, dedicatari, tipografi). Le prefazioni e le lettere di dedica sono pubblicate in appendice e corredate di traduzione. Una sezione è dedicata ai commenti umanistici di Gellio Bernardino Marmitta, Daniele Caetani e Josse Bade. Il terzo capitolo propone l’analisi testuale dei cinque volgarizzamenti delle tragedie senecane prodotti fino all'anno 1497. Il primo è contenuto nel poemetto incompiuto «Ippolito e Fedra» di Sinibaldo da Perugia (ante 1384). Il secondo è un volgarizzamento anonimo in prosa di area napoletana (prima metà del Quattrocento). Il terzo è il volgarizzamento in versi di Evangelista Fossa dell'«Agamemnon», stampato a Venezia il 28 gennaio 1497. Il quarto è il volgarizzamento in versi di Pizio da Montevarchi dell'«Hercules furens», inedito, conservato nel manoscritto 106 della Biblioteca Classense di Ravenna, del 1497-1498. Il quinto è il volgarizzamento in versi dell'«Hippolytus», ancora di Pizio da Montevarchi, stampato a Venezia il 2 ottobre 1497. Nella tesi, si pubblicano i testi degli ultimi tre volgarizzamenti individuati. This thesis presents a survey of the reception of Seneca's tragedies between Quattrocento and Cinquecento, focusing on printed editions (incunabula and cinquecentine published until 1514) and vernacular translations. The first chapter summarizes the circulation of Seneca's tragedies in manuscripts during the Middle Ages. The second chapter contains the catalogue and the description of the printed editions of the tragedies from the editio princeps (Ferrara, before 17 December 1478) to the three-comment edition edited by Josse Bade (Paris, 5 December 1514). For each edition, I analyzed the paratexts (prefaces, dedicatory letters, comments, poems, illustrations) and I reconstructed the identities of the personalities who contributed to the publication (editors, commentators, dedicatees, printers). Prefaces and dedicatory letters are published in the appendices with an Italian translation. A section is devoted to the humanistic commentaries by Gellio Bernardino Marmitta, Daniele Caetani and Josse Bade. In the third chapter I focused on the five vernacular translations of Seneca's tragedies produced until 1497. The first is contained in the unfinished poem "Ippolito e Fedra" by Sinibaldo da Perugia (before 1384). The second is an anonymous prose translation produced in the Neapolitan area during the first half of the fifteenth century. The third is the verse translation by Evangelista Fossa of the "Agamemnon", printed in Venice on 28 January 1497. The fourth is the verse translation by Pizio da Montevarchi of the "Hercules furens", preserved in the manuscript 106 of the Classense Library of Ravenna (1497-1498). The fifth is the verse translation of the "Hippolytus", again by Pizio da Montevarchi, printed in Venice on 2 October 1497. In my thesis, I edited the texts of the last three vernacular translations.