Academic literature on the topic 'Philology, bibliography'

In November 2007, l’École nationale supérieure des sciences de l’information et des bibliothèques—France’s national school for information and librarianship—launched an ambitious project, following William Kemp’s proposal: establishing, in electronic form, an exhaustive, retrospective bibliography of books printed at Lyons during the sixteenth century. The implementation of this project was the object of numerous reflections, mostly upon the way the history of the book and the history of philology complement each other. Professional and disciplinary specificities concerned the identification of the types of users of such a base, the needs of these users, the norms regularly used, and the different levels of description considered to be necessary. This article recounts these conceptual progressions as they helped define bibliography in the twenty-first century. With precise comparisons to existing databases, and with concise and detailed definitions of methodology and issues, the author exposes the necessary decisions required of any bibliographic undertaking. Public, descriptions, corpus, standardization, and use are approached with reference to both conception and concept.

After quite a long period of time, there appeared another scientifically researched book on yet another famous and significant Bosnian-Herzegovinian author. A young Doctor of Philosophy in the fields of philology and linguistics, Marijana Nikolić, published a book titled Bosnian Linguistics Usages in the Literary Language of Skender Kulenović. In her book, the author explains the following traits: Phonology, Phonostylistics, Morphology, Morphostylistics, Word formation, Nomina as a word-formative category, constituent derivatives with transposed meanings, as well as neologisms in the creative works of Bosnian-Herzegovinian author Skender Kulenović. The book also contains a list of Abbreviations, Works cited and Bibliography, Name- and Subject index, and also numerous Tables. The book of 165 pages in total was published by Off-set, in August of 2015 in Tuzla, Bosnia-Herzegovina.

The work presents the book by S. S. Lut "Corruption: a Bibliographic Reference Book (1810-2018)" (Moscow: Kontrakt, 2019). The peer-reviewed bibliographic collection contains over 13 thousand publications for more than two centuries. When forming the bibliography, the author proceeded from the definition of corruption, which is contained in the Federal Law of December 25, 2008 No. 273-FZ "On Combating Corruption". The work under review presents compendiums that in one way or another touch upon the problems of corruption and combating corruption crimes. In particular, research is given in mathematics, political science, history, sociology, economic theory, psychology, philosophy, philology and geography, i.e. works on sciences that at first glance are very far from jurisprudence. All the material is structured based on two main criteria: classification by type of work and distribution by temporal aspect. The first chapter brings together monographs, textbooks and teaching aids, separate sections of which are devoted to the problems of corruption, while the works are presented in chronological order as they are published. The second chapter contains a list of monographs and textbooks, fully or mostly devoted to the characteristics and counteraction to corruption. The third chapter integrates relevant scientific articles. The fourth chapter covers dissertations and abstracts. Of particular interest to the reader is a critical analysis of legislative acts, in one way or another, aimed at combating corruption. The analytical article broadly presents international legal acts dedicated to the problem of corruption and the development of measures to prevent it.

First reports on Buddhism arrived in Italy in the sixteenth century through Italian Catholic missionaries. Later several scholars developed a philological and philosophical understanding of it. The attitude toward Buddhism changed from an anthropological interest to a philological study. In the academic field of philology the Theravāda tradition and the Siamese edition of Tripitaka had great importance. The spread of Buddhism in Italy in the nineteenth century also increasingly influenced Italian culture and ideas. Outside of academic debate Buddhism became a subject of apologetics and philosophy as well as a topic of general interest. This essay is based on books and printed material published in Italy before the twentieth century. It contains the complete bibliography of Italian studies on Buddhism in the nineteenth century. Some texts cited in this essay are unpublished or rare documents from Italian archives.

AbstractThis article investigates the formation of the Shatan scholarly group and the contribution of its leader, Zheng Zhen. Zheng benefitted from a vigorous trans-regional cultural network of returned local scholars such as Li Xun and Mo Yuchou and prominent scholar-officials from outside such as Cheng Enze and He Changling. Zheng Zhen remained true to the approaches and research topics of evidential research, i.e., historical philology and exegesis of pre-Qin classics, bibliography, and an inquiry into ancient institutions and technology, in an era when the general intellectual trend turned toward statecraft studies and the politicized Modern Text School, promoted by scholars like Gong Zizhen and Kang Youwei. The contribution of the Shatan group, Zheng Zhen in particular, embodies the rise of evidential research, a passion for facts, as well as concerns about society. More importantly, it prompts us to rethink Guizhou as an active agent in the late Qing Chinese cultural landscape.

Darbas sudarytas iš dviejų pagrindinių dalių: Skandinavijos literatūrų aprašymo ir bibliografinių duomenų. Čia nagrinėjami grožinės literatūros vertimai iš skandinavų kalbų (islandų, danų, norvegų, švedų) į lietuvių kalbą. Kiekvienos šalies literatūra aprašoma atskirai. Trumpai aptariama grožinės literatūros istorija, suaugusiems ir vaikams skirta literatūra, pristatomi pagrindiniai vertėjai. Didesnis dėmesys skiriamas garsesniems autoriams. Be to, fiksuoti verstų iš skandinavų kalbų grožinių tekstų bibliografiniai duomenys. Didžioji dalis lietuviškai išleistų knygų yra sąrašuose. Pastebėta, jog skandinavų literatūrų glaudus tarpusavio ryšys neturi įtakos jos vertimams į lietuvių kalbą. Jungiančia grandimi tampa vertėjai, verčiantys iš kelių skandinavų kalbų. Vertimai iš skandinavų kalbų į lietuvių kalbą glaudžiai susiję su politiniais, ekonominiais, ideologiniais faktoriais, bet lemiantis yra vertėjo vaidmuo. Tik vertėjų iniciatyva lietuviška knygų erdvė papildoma itin vertingais tekstais. Šis darbas savo esme – enciklopedinis, todėl fiksuota įvairi informacija, galinti praplėsti skaitytojo žinias apie skandinavų autorius ir kūrinius, bet nekartojama visuotinai žinoma ar prieinama informacija apie autorių biografiją ir išleistus kūrinius.
The work consists of two main parts: description of Scandinavian literatures and bibliographic data. It analyses translations of fiction from Scandinavian languages (Icelandic, Danish, Norwegian and Swedish) into Lithuanian language. Each country’s literature is described separately. The work briefly discusses histories of literatures, literatures for adults and children and presents main translators. Greater attention is paid to more famous authors. Moreover, the work provides bibliographic data on fiction translated from Scandinavian languages. Most of the books published in Lithuanian language are included in the lists. It was noted that the close relation among Scandinavian literatures has no impact on their translations into Lithuanian. Translators who translate from several Scandinavian languages become the connective link. Translations from Scandinavian languages into Lithuanian are closely related to political, economic, ideological factors; however the translator plays a crucial role alongside these factors. Only due to the translators the Lithuanian book space is augmented with especially valuable texts. In its essence, this work is encyclopaedic; therefore it provides various information that could expand reader’s knowledge in Scandinavian authors and their works, though it does not repeat universally known or available information on the authors' biographies and published works.

Cette thèse entend proposer une analyse originale du phénomène connu mais polémique que constitue l’introduction de la notion d’auteur dans la littérature de langue française au Moyen Âge. Il s’agira d’essayer de contribuer à repenser la signification poétique, culturelle et historique de ce moment particulier où l’auteur – c’est-à-dire l’attribution d’un texte ou d’une série de textes à un nom propre donné – s’est imposé pour la première fois comme un critère structurant et primordial dans la production et surtout la transmission des textes de langue française dans les manuscrits médiévaux. Usant du concept foucaldien de fonction-auteur, des théories de la réception et du paratexte, ainsi que de la « Nouvelle Codicologie », l’approche déployée ici aborde l’auteur en tant que construction textuelle et éditoriale signifiante au sein d’un corpus de recueils littéraires de langue d’oïl où la volonté de construire des figures d’auteurs par les éditeurs de ces ouvrages est à la fois claire et indiscutable. Partie à l’origine d’un examen systématique de la tradition manuscrite d’environ 320 noms de poètes de langue d’oïl actifs entre 1100 et 1340, l’analyse se concentre principalement sur 25 manuscrits contenant des collections auctoriales dédiées à 17 poètes, dont le nom est associé avec insistance à une série de textes copiés les uns à la suite des autres. Parmi ces auteurs, on trouve les célèbres Chrétien de Troyes, Rutebeuf et Adam de la Halle, mais aussi Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin et Nicole Bozon. La présente analyse tente de nuancer et de dépasser la lecture répandue selon laquelle ces manuscrits à collections auctoriales individuelles constitueraient, de concert avec les fameuses biographies de troubadours et les chansonniers de trouvères, souvent présentés comme leurs « ancêtres », les débuts balbutiants d’une vaste épopée de l’avènement de l’« auteur moderne », annonciateur tout à la fois d’une « subjectivité littéraire », d’une « esthétique autobiographique » et d’un contrôle accru des auteurs historiques, réels, sur la transmission manuscrite de leurs propres œuvres. Tout en offrant une mise à jour contextuelle et matérielle – données originales à l’appui – concernant la dimension collaborative de la genèse de ces recueils et le caractère modulaire de leur transmission, on montrera qu’ils sont le fruit d’un dialogue nourri avec le modèle livresque latin et pluriséculaire de l’auctor – qui est à la fois un auteur, un garant de la vérité (auctoritas) et un ambassadeur prestigieux de la grammaire –, ainsi qu’avec l’antique exemple d’œuvres dites « biobibliographiques », qui décrivent la vie et l’œuvre d’auteurs illustres et exemplaires, comme le fait le De viris illustribus de saint Jérôme. Les manuscrits étudiés usent à répétition de ce modèle ancestral de la biobibliographie (« la vie et l’œuvre ») pour mettre en scène un face-à-face entre auteurs de langue d’oïl et auctores. Or cette mise en regard s’avère d’autant plus intéressante que, contrairement à ce qu’on observe pour les troubadours, considérés très tôt comme de nouveaux auctores illustres en langue vulgaire, dignes de cautionner l’excellence de la poésie et de la grammaire d’oc, elle ne prend pas uniquement, en français, la forme d’une imitation ou d’une adaptation de modèles anciens. En fait, l’analogie avec les auctores donne lieu à des exercices savants, autoréflexifs et parfois ironiques sur la fabrique éditoriale, poétique et épistémologique du type d’auteur et d’auctoritas qui peuvent (ou non) être bâtis dans des recueils en langue d’oïl, idiome qui était encore dépourvu à l’époque (1100-1340) de véritable grammaire, et où fleurissaient en revanche les genres littéraires de divertissement comme le roman, où l’on explorait la porosité des frontières entre le vrai et le faux, entre le bien et le mal. Plus qu’un pas pris dans la direction d’un sacre inéluctable, l’« invention de l’auteur français » à laquelle procèdent les recueils étudiés est un geste pétri des incertitudes et des interrogations de ceux qui le posaient, et qui en mesuraient la profonde vanité au regard de Dieu et de la mort.
This thesis aims to provide an original analysis on an often studied yet controversial issue: the introduction of the notion of authorship in French language medieval literature. The objective here is to reconsider the poetic, cultural, and historical signification of the particular moment when the author – understood here as the attribution of a text or of a series of texts to a proper noun – first became an essential structuring criteria in the production, and more importantly, in the transmission of French-language texts through medieval manuscripts. Using Michel Foucault’s concept of fonction-auteur, theories of reception and of the paratext, as well as New Codicology, this thesis will consider the author as a signifying textual and editorial construction within several literary collections written in langue d’oïl, in which the editors clearly and undeniably sought to construct figures of the author. Based on the systematic examination of the manuscript tradition of approximately 320 names of langue d’oïl poets, who were active between 1100 and 1340, this analysis will focus primarily on 25 manuscripts containing authorial collections dedicated to 17 poets, whose names are strongly associated with a series of texts that are copied one after the other. Among these authors are the famous Chrétien de Troyes, Rutebeuf and Adam de la Halle, as well as Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin and Nicole Bozon. This thesis attempts to question and ultimately discard the common conception according to which the manuscripts containing individual authorial collections constituted – along with the famous biographies of the troubadours and the chansonniers of the trouvères, often considered as their « ancestors » – the timid beginnings of the rise of the « modern author », himself a prequel to « literary subjectivity », « autobiographical aesthetics » and an ever stronger control exerted by actual empirical authors over the manuscript transmission of their own works. While offering contextual and material updates – supported by original data – regarding the collaborative process that went into the creation of these collections, as well as the modular aspect of their reception, this thesis will show that these collections were formed through a rich dialogue with the centuries-old latin model of the auctor – who is at once an author, a guardian of truth (auctoritas) and a prestigious ambassador of grammar –, as well as with the antique tradition of « biobibliographical » texts, dealing with the life and works of famous and exemplary authors, such as De viris illustribus, by saint Jerome. The manuscripts studied here repeatedly used this ancient model of biobibliography (« the life and works ») in order to stage a competition between authors writing in langue d’oïl and auctores. This confrontation is particularly interesting when one considers that – contrary to what may be observed in the case of the troubadours, who were quickly seen as the new illustrious vernacular auctores, worthy of vouching for the excellency of langue d’oc poetry and grammar – , we are not simply dealing here with a form of imitation or adaptation in French of ancient models. In fact, the analogy with auctores allows for autoreflexive and sometimes ironic learned exercises, dealing with the editorial, poetic and epistemological creation of the type of author and auctoritas in manuscript collections in langue d’oïl, an idiom which at the time (1100-1340) lacked a true grammar, yet was used in various literary genres meant for entertainment, such as romance, which explored the evanescent barriers between truth and lies, good and evil. Rather than a small step in the long path towards an inevitable coronation, the « invention of the French author » undertaken by these collections constitutes an action that reflects all the uncertainty and interrogations of those who undertook it, while being fully convinced of its utter vanity in the eyes of God and death.