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Journal articles on the topic 'Posthumous editions'
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1
Aleksic, Milan. "The integrality of the text of Andric’s anxieties." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 84 (2018): 157–69. http://dx.doi.org/10.2298/pkjif1884157a.
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The paper points to a printing error which appeared in the edition of Andric?s volume of lyrical prose Anxieties (Nemiri), and since it was the only edition of this book in the author?s lifetime, the book was reprinted in all the posthumous editions with a note that it was impossible to reconstruct the missing place in the text. A possibility to establish the integral text has been found in the periodicals, within the edition of his lyrical prose entitled Children (Djeca), where the error appears. As there are three editions of this text, we point to the possibility of the text being reconstructed on the basis of the last edition published in the author?s lifetime as an expression of his authorial will.
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Guskov, Nikolai. "The creation of S. Marshak’s poem “Ice-cream”." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 154–79. http://dx.doi.org/10.31860/2304-5817-2020-2-18-154-179.
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The article compares seven versions of S. Marshak’s poem for children “Ice Cream”. Three of them (1925, 1940 and 1957) are recognized as the canonical editions, and others (of the 1929, 1949, 1960.1962) as their variants. The final version for posthumous publications is ascribed, without any reason given, to 1960 production year, with deviations taken from different publications of this text. The article analyzes the reasons underlining such transformation of the text that include changes in realia, social tastes and mores, stylistic and ideological tendencies of the 20th century, and the poet’s desire to harmonize his creative attitudes with external factors. The analysis demonstrates that although the editing process of the text was organic, the difference between editions is so great (only 30 verses are shared between all of the editions) that the reproduction of all versions is needed for scholarly and the critical editions of Marshak’s poetry. His editing method is compensatory: the plot and style varied, but the philosophical and ethical subtext important for Marshak as a creative individual remained the same. These are archetypal ideas of joyful acceptance of the objective laws of nature, the glorification of those who support world harmony, and the condemnation of those who violate it. The appendix contains a comparative table showing the history of Marshak’s text.
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Dukes, Gerry. "THE SECOND ENGLISIllNG OF ELEUTHERIA." Samuel Beckett Today / Aujourd'hui 7, no. 1 (December 8, 1998): 75–80. http://dx.doi.org/10.1163/18757405-90000086.
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A review of Barbara Wright's translation of Eleuthéria, Samuel Beckett's first full-length play in French, written in 1947. The posthumous publication history of Beckett's original text by Les Editions de Minuit (Paris), the first translation by Michael Brodsky into English, published by Foxrock Inc. (New York) and Wright's translation is briefly sketched. The two English translations are compared and Wright's is found not only superior but also eminently actable.
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HARRIS, JAMES A. "EDITING HUME'S TREATISE." Modern Intellectual History 5, no. 3 (November 2008): 633–41. http://dx.doi.org/10.1017/s1479244308001832.
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In 1975 the Clarendon Press at Oxford published Peter Nidditch's edition of John Locke's An Essay concerning Human Understanding. In his Introduction Nidditch says that his edition “offers a text that is directly derived, without modernization, from the early published versions; it notes the provenance of all its adopted readings (some of which are new, correcting long-established errors); and it aims at recording all relevant differences between these versions”. As Nidditch goes on to acknowledge, the “relevant differences” were many, “requiring several thousand registrations both in the case of material variants (deletions, additions, or changes of wording) and in the case of formal variants (changes of punctuation, parentheses, italics, etc.)”. The textual history of Locke's Essay is extremely complicated. While there is no manuscript of the first edition of the book, there were four editions in Locke's lifetime, each new one containing extensive and significant revisions, as well as a posthumous edition published shortly after the author's death. There was a translation into French made with Locke's cooperation and published in 1700, and a Latin translation came out a year later. Nevertheless, Nidditch managed to record all the material variants in footnotes to the text, in a way that makes it fairly easy to track the changes that Locke made to successive editions of the book, and to locate points at which judgements had to be made as a critical text was established on the basis of the chosen copy text. Sometimes a critical edition succeeds in completely changing the way that a text is read. Peter Laslett's 1960 edition of Locke's Two Treatises of Government is a good example. Nidditch's edition of the Essay did not have that kind of very dramatic effect on Locke scholarship. Rather, it made it possible for those without direct access to all the early editions to engage in careful, historically sensitive studies of Locke's account of human understanding. The result was a slow revolution in Locke studies that continues to shed new light on even the most familiar aspects of the Lockean philosophy.
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McCULLOUGH, PETER. "MAKING DEAD MEN SPEAK: LAUDIANISM, PRINT, AND THE WORKS OF LANCELOT ANDREWES, 1626–1642." Historical Journal 41, no. 2 (June 1998): 401–24. http://dx.doi.org/10.1017/s0018246x9800781x.
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This study examines the posthumous competition over the print publication of works by Lancelot Andrewes (1555–1626) before the English Civil War. The print history of the two official volumes edited by Laud and John Buckeridge (1626), and of competing editions of texts rejected by them but printed by puritan publishers, sheds important new light not only on the formation of the Andrewes canon, but on Laud's manipulation of the print trade and his attempts to erect new textual authorities to support his vision of the church in Britain.
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Nichol, Donald W. "'So proper for that constant pocket use': Posthumous Editions of Pope's Works (1751-1754)." Man and Nature 6 (1987): 81. http://dx.doi.org/10.7202/1011872ar.
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Milkov, V. "Apocryphal images of the other world in the Apocrypha "The vision of the Apostle Paul", "Walking of the Virgin by Flour", "Questions and Answers of St. Athanasius to the Antiochus"." Язык и текст 4, no. 4 (2017): 85–118. http://dx.doi.org/10.17759/langt.2017040407.
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In the publication the apocryphal texts are reproduced and analyzed, which describe the other world and the posthumous destinies of souls of the dead people. A place of torment sinners and Paradise are described in such Apocryphas as "The Vision of the Apostle Paul", "Walking of the Virgin by Flour", "Questions and Answers of St. Athanasius to the Antiochus". In the analytical part of the publication the author systemizes data about the editions of the apocryphal works and gives information about the manuscripts in which the data revision submitted. The publication contains the translation of the Apocrypha in modern Russian language.
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Feduta, Alexander I. "Reappearance of a Mistake. (On the history of a disappeard text by N.A. Nekrasov)." Literary Fact, no. 18 (2020): 393–402. http://dx.doi.org/10.22455/2541-8297-2020-18-393-402.
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In posthumous editions of K.I. Chukovsky’s works, including the newest 15-volume Collected Works, his article “The Poet and the Executioner” (1922), which is essentially devoted to the poem “Raising the Grace Cup...” addressed to M.N. Muravyov-Vilensky, is re-published. In the 1930s B.Ya. Bukhshtab finally disavowed the authorship of N.A. Nekrasov, and Chukovsky not only excluded this poem from the body of the poet's works, but also refused to republish his article. Now its republishing requires detailed reservations and explanations, which can be facilitated by the reconstruction of scientific polemics of the past decades. Thу article is devoted to its history.
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Kirby, Michael. "Centenary of HM Seervai – Doyen of Indian constitutional law – an Australian appreciation." Legal Studies 27, no. 3 (September 2007): 361–78. http://dx.doi.org/10.1111/j.1748-121x.2007.00060.x.
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For much of the second half of the twentieth century, HM Seervai was a leading advocate of the Bombay High Court. He argued some of the most important constitutional cases decided by the Supreme Court of India and eventually resolved in 1970 to write his Constitutional Law of India. It became the leading text on Indian constitutional law. It is still in widespread use. Many instances of recent citations are quoted. But it is not the usual commentary on the text of the Indian constitutional and case law. Instead, the book contains a running discussion on the shifts in direction as well as sharp criticisms where Seervai felt that the courts had strayed from correct constitutional doctrine. Seervai died in 1996 as the fourth edition was just completed. In this paper, originally given as a lecture in Mumbai in 2007 on the centenary of Seervai’s birth, the author questions Seervai’s testamentary prohibition on posthumous editions of his text. He urges that a new edition should be produced to keep Seervai’s legacy alive not only in India but in other constitutional democracies where Indian judicial authority is increasingly cited.
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Hamburg, G. M. "Terence Emmons and Russian Historiography." Journal of Modern Russian History and Historiography 10, no. 1 (August 22, 2017): 71–111. http://dx.doi.org/10.1163/22102388-01000004.
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This article analyzes Terence Emmons’ contributions to Russian historiography. It discusses Emmons’ publications on the “golden age” of Russian historical writing and its links to Russian liberalism; his activity as instructor of graduate students at Stanford University from the 1960s to 2004, especially his seminars on the “new current” [novoe napravlenie] of the 1960s–1970s in Soviet historical writing; his editions of diaries by Iurii Vladimirovich Got’e, Frank Golder and Julia Dent Grant Cantacuzene; his articles on the “school” of Vasilii Osipovich Kliuchevskii and on Pavel Nikolaevich Miliukov as historian; his discovery of Boris Ivanovich Syromiatnikov’s unpublished monograph on Russian historiography; his analysis of Natan Iakovlevich Eidel’man’s “last book” on “revolution from above”; his editing of Martin Malia’s posthumous book, History’s Locomotives; his contemplated book on the Priiutino Brotherhood; his article on Vladimir Ivanovich Vernadskii and his son Georgii Vladimirovich (George) Vernadskii; and his links to Petr Andreevich Zaionchkovskii and to Zaionchkovskii’s “school” of historians.
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Mahlmann-Bauer, Barbara. "Sigmund von Birken, der Literaturbetrieb, Netzwerke und Werkpolitik." Scientia Poetica 24, no. 1 (November 1, 2020): 1–56. http://dx.doi.org/10.1515/scipo-2020-001.
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AbstractSigmund von Birken belongs to the »Trio of poets from Nürnberg«, together with Georg Philipp Harsdörffer and Johann Klaj whose posthumous fame is mainly due to their pastoral poetry with fullsounding verses in praise of peace and love. Birken started his career with an enormous upshot as organizer of multi-media spectacles during the peace ceremony in Nürnberg in 1650. Apart from his hymns and pastoral love poems, Birken’s poetry does not belong to the canon of early modern literature in Germany. If he had lived longer, he would probably have edited later all those poems which he had written on demand for special occasions and immediately published as separate brochures or leaflets in at least four huge volumes. He would have properly arranged love poems, odes in praise of friendship, poems dedicated to noblemen and civilians, hymns and secular songs, starting like his famous predecessors with his Latin verses. This ambitious publication project is outlined in his manuscript collections, but was not realized during Birken’s lifetime. To correct for this oversight, the commented edition of Birken’s complete poetic manuscripts, which was recently finished by Hartmut Laufhütte, gives a broad impression of his talents as a playful virtuoso in all kinds of genres, teacher of poetry, advisor, ›ghostwriter‹ and promotor of young poets, male and female alike. His diaries and correspondence account for his enormous productivity and versatility, thus enabling modern readers to watch him during the creative procedure more closely than any other German poet of his time. The edition of Birken’s manuscripts is on the same scale as a few other recently completed long term editions of early modern German ego-documents and poetry and sets high standards for further editions.
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Markiewka, Tomasz. "Przepisywanie Beowulfa: J.R.R. Tolkiena meandry przekładu." Między Oryginałem a Przekładem 24, no. 40 (June 30, 2018): 47–63. http://dx.doi.org/10.12797/moap.24.2018.40.03.
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Rewriting Boewulf: J.R.R. Tolkien’s Meandering Translation J.R.R. Tolkien’s works related to translation include both translations and adaptations in the form of pastiche. All of them have been published as posthumous editions, equipped with detailed critical commentaries and edited by the writer’s son, Christopher Tolkien. Among recent publications in English and Polish, one that deserves particular attention is a 1926 prose translation of the Old English poem Beowulf (2014, Polish ed. 2015). This edition presents Tolkien performing a few roles, acting as a translator, translation critic, editor, commentator, literary scholar, linguist, and creative writer. In fact, “translation” becomes a textual hybrid in which one can observe the work of a translator from the initial phase of close reading of a source text through three variants of prose translation (two from 1926 and one from 1942); alternative fragmentar translations in alliterative verse; a detailed philological and cultural commentary composed of lecture notes; original literary works inspired by Beowulf, which include the short story Sellic Spell (in two English versions and as a back translation into Old English); and two versions of the original poem The Lay of Beowulf. As a result, the 2014 edition of Tolkien’s Beowulf realizes the ideal of a translation once described by Vladimir Nabokov: the text of translation emerges from multilayered commentary, which, in Tolkien’s work, crosses the boundaries of languages and genres.
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Vroey, Michel De. "Transforming Walras Into a Marshallian Economist: A Critical Review of Donald Walker's Walras's Market Models." Journal of the History of Economic Thought 21, no. 4 (December 1999): 413–35. http://dx.doi.org/10.1017/s1053837200004545.
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The history of economics can be compared to a calm sea that once in a while happens to be shaken by heavy storms. This arises when works come out aimed at turning upside down the received interpretation of a great bygone economist's views. Professor Donald A. Walker's recent book, Walras's Market Models (1996), is likely to be among them. Its main thrust is that the view present-day economists have of Léon Walras is incorrect. The basic reason, he claims, is that to date all interpretations of Walras have been based on the last (posthumous) edition of the Eléments d' économie pure (henceforth the Elements), itself a slightly amended version of its fourth edition. To him this is a pity because Walras's most interesting theoretical ideas are to be found in its second and third editions—the embodiment of what he calls Walras's mature phase of theoretical activity—yet were abandoned by him when he revised his work for the fourth edition. The aim of Walker's book, then, is to bring to the fore the picture of what he considers to be the real Walras: an economist interested in the functioning of real-world markets and abiding by a realistic methodology who is attentive to the institutional set-up underlying his system of equations, and who is keen to provide his readers with disequilibrium models. In other words, Walker is trying to make the same claim apropos Walras as Axel Leijonhufvud (1968) did thirty years ago about Keynes when defending the view of a breach between the economics of Keynes and Keynesian economics. To Walker, modern Walrasian economics, or neo-Walrasian theory as it is more often called, is a betrayal of Walras's economics.
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Arkhipova, Tatiana G. "IN MEMORY OF NIKOLAI PETROVICH EROSHKIN (9.09.1920–30.01.1988)." RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations, no. 4 (2020): 239–46. http://dx.doi.org/10.28995/2073-6339-2020-4-239-246.
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In the article, based on personal memories, the author analyzes the activities of a famous scientist and teacher, doctor of historical sciences, professor, who worked for more than forty years at the Institute of History and Archives of the Russian State Humanitarian University – Nikolai Petrovich Eroshkin. His scientific, methodological and teaching activities are analyzed. His academic career allowed him to be deservedly considered the largest specialist in the history of Russian statehood in the 19th – early 20th centuries. His lecturing skills were characterized by the audience as one of the best in the Institute of History and Archives. He is the author of a textbook on the history ofstate institutions in pre-revolutionary Russia, the study book that withstood three lifetime and two posthumous editions, and has not lost its relevance to this day. Particular attention is paid to his organizational skills, which made it possible to create a specialized department, the core of which was the school of scholars of the history of state known not only in the USSR, and later in the Russian Federation, but also abroad. It exists to this day and consists of his students and their students. Under his leadership, hundreds of theses were written, about forty of his students defended their Ph.D. theses, seven of whom became doctors of science.
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Smith, Sidonie, and Julia Watson. "The Afterlives of Those Who Write Themselves. Rethinking Autobiographical Archives." European Journal of Life Writing 9 (December 28, 2020): BE9—BE32. http://dx.doi.org/10.21827/ejlw.9.37323.
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As those who write themselves, life narrators are readers, interpreters, and curators of the archival material, both intimate and impersonal, accrued during their lifetimes. These materials form an archival pre-life that is extended and complemented by posthumous remediations of their narrated lives. Personal archives may include writing in journals and diaries, digital exchanges on social media and blogs, documents, and images in photographs and drawings, as well as the ephemera of recorded memories and impressions; as this archive is activated in life writing, its texts project an archival imaginary. Once a life narrative enters public circulation, the archive of self accrues future ‘afterlives’ as it is edited, reframed, and remediated in subsequent editions and by translation into other languages or media for different reading publics, both during and after a writer’s life. The interactive relationship of self-archives and afterlives makes clear that the texts of self-life-writing, whether published or unpublished, complete or fragmentary, are objects of inquiry in movement – not transparent, stable phenomena that generate ‘truth,’ but dynamic sites open to interpretation in their textual afterlives. An autobiographical narrative is, thus, never just ‘the life’: supplements, remediations, and new versions are created in interactions with the practices and positions of new generations of readers. This essay takes up the iterative, interactive, and intersubjective dynamics of autobiographical archives and the temporalities of autobiographical afterlives in eight exemplary cases of life writing. Observing autobiographical archives in their histories of circulation, republication, and repurposing situates the question of afterlives as a mode of ‘beyond endings’ in larger debates about ethical reading, methodological constraint, and theoretical adequacy.
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MacLaren, I. S. "Explorers' and Travelers' Narratives: A Peregrination Through Different Editions." History in Africa 30 (2003): 213–22. http://dx.doi.org/10.1017/s0361541300003223.
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Researchers keen to examine the representation of native people in European accounts of exploration and travel need bring under review the mechanism by which field notes became books, and, once they were books, the multiplicity and diffusion of editions, often themselves quite different from one another. An example that illustrates well this need is British Royal Naval Captain James Cook's posthumously published account of his third voyage to the Pacific Ocean in the years 1776-80. The standard scholarly source is J.C. Beaglehole's monumental edition, The Journals of Captain James Cook on His Voyages of Discovery (1955-74), a twenty-year editing project for the Hakluyt Society, which made available for the first time Cook's own writings until his death at Kealakekua Bay, Sandwich Islands (Hawaii), on 14 February 1779, during the third voyage. However, the need for Beaglehole's project arose, according to the president of the Hakluyt Society, because the original publications differed very widely from Cook's own writings. They were “official” accounts, published by order of George III, and they performed that always interesting exercise—they “improved” on Cook's own writings. It is well known that Cook did not prepare his journals for the press: in the case of the first two voyages to the Pacific, this was his choice. In the case of the third, the choice was not his to make, he being five years deceased. How wide are those differences?In the case of Cook's description of a month-long mooring in Nootka Sound, on the west coast of Vancouver Island, do substantive differences occur between Cook's logs and journal and Bishop John Douglas' edition? Answering that question necessarily involves consulting first editions of the various published accounts.
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Bailey, Richard N., and Eric Cambridge. "St Cuthbert’s Posthumous Biography: A Revised Edition." Peritia 26 (January 2015): 13–27. http://dx.doi.org/10.1484/j.perit.5.108312.
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Sellars, John. "Standard Edition: Complete Works, Correspondence and Posthumous Writings." British Journal for the History of Philosophy 21, no. 3 (May 2013): 613–16. http://dx.doi.org/10.1080/09608788.2013.792777.
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Kaida, Toshikazu. "The Revising Process of ‘Kaisei Nihon Yochirotei Zenzu (Sekisui-zu)’." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-155-2019.
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<p><strong>Abstract.</strong> ‘Kaisei Nihon Yochi Rotei Zenzu’ by Sekisui Nagakubo, measuring around 83&thinsp;&times;&thinsp;134&thinsp;cm and traditionally referred to as ‘Sekisui-zu’, is the earliest woodblock-printed map of Japan employing lines of longitude and latitude. Sekisui-zu is much more detailed than traditional maps like those of Ryūsen Ishikawa, with 4200 place names in the first edition compared with Ryūsen’s 900. Most of the first editions are hand-coloured in nine hues (presumably Yamato-e pigments), seven of which distinguish different regions. Sekisui-zu is still not a survey map but nevertheless acts with great geographical accuracy as a route map. This map of Japan was published a full 30 years in advance of the first surveyed manuscript map, by Tadataka Ino.</p><p>The first edition bears the printed date of ‘1779’ but, according to Sekisui`s documents, etc. its actual publication was in the next year. Sekisui scrutinised not only former maps and documents but also travellers’ communications so vigorously that he revised his map time and time again. The first edition alone was revised at least twelve times by replacing the parts of woodblock with implants of more accurate ones, by the time the second edition of complete replacement of wood block was released in 1791. Most notable replacement was at the north end of Honshu, east part of Kanto province and east part of the Seto Inland Sea. The woodblock used to print the area between the Hitachi and Musashi prefectures was also replaced more than three times, as it seems to have become impossible to re-carve.</p><p>The second edition was fully revised and contains more complex information, for example with nearly 6000 place names, most of which had been corrected by the first publication. This was revised only (at least) three times, mainly around the Izu Islands in a later issue. This edition was hand-colored in five different hues for each region. This was Sekisui’s last edition and three other editions, mostly colour printed, were released posthumously in 1811, 1834, and 1841. For eighty years of the late Edo period, Sekisui`s ‘Kaisei Nihon Yochi Rotei Zenzu’ was accepted as the definitive map of Japan.<p>
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Trapp, M. B. "Some Emendations in the Text of Maximus of Tyre, Dialexeis 1–21 (Hobein)." Classical Quarterly 41, no. 2 (December 1991): 566–71. http://dx.doi.org/10.1017/s0009838800004833.
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All surviving manuscripts of the Dialexeis of Maximus of Tyre descend from the oldest, Parisinus Graecus 1962 (given the siglum R in Hobein's Teubner text of 1910). Where they diverge, they do so as a result either of error or of attempts at correction. The history of the conjectural emendation of the Dialexeis thus begins with the second oldest manuscript, Vaticanus Graecus 1390 (Hobein's U), which dates from the third quarter of the thirteenth century. Since that time, the most significant contributions have come from two scholars, one of the fifteenth century and one of the eighteenth: Zanobi Acciaiuoli, librarian at the monastery of San Marco in Florence, many of whose corrections found their way anonymously into the editio princeps of 1557 via the manuscript used by Stephanus; and Jeremiah Markland, whose ideas are recorded as an appendix to the second, posthumous edition of John Davies's Maximus, published in 1740. J. J. Reiske's edition of 1774–5 and Friedrich Duebner's of 1840 (rev. 1877) also contain valuable material. But the field is by no means yet picked clean: witness most recently the useful articles of Professors Koniaris and Renehan. I offer the following gleanings of my own.
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Frick, Julia. "Virgil’s Aenead in German Verse at the Threshold of the 17th Century (Vergils Aeneis in deutschen Versen an der Wende zum 17. Jahrhundert)." Daphnis 46, no. 1-2 (March 15, 2018): 112–42. http://dx.doi.org/10.1163/18796583-04601003.
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Thomas Murner’s translation of Virgil’s Aeneid (Strasbourg: Johann Grüninger 1515) was the first into German and remained the only one until a further translation by Johannes Spreng, the Meistersinger from Augsburg, was published posthumously in 1610. The use of rhyming couplets as the epic metre for the German Aeneid until the early 17th century was not only due to the reprints of Murner’s editio princeps, but also to Spreng’s work, the last edition of which was published in 1629. It was only about 40 years later that this formal pattern was superseded by the alexandrine, better suited to the stylistic requirements of baroque poetics.
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Cooke, Brett. "A Typescript of We." Canadian-American Slavic Studies 45, no. 3-4 (2011): 410–22. http://dx.doi.org/10.1163/221023911x567623.
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AbstractA document found in an Albany archive appears to be a typescript of We executed at least partly by Zamiatin; indeed, brief passages are written in his hand. More a fair copy than a draft of the text, this carbon copy provides some variant readings to the Chekhov edition, heretofore the sole commonly accepted version. Most, albeit not all, variant passages indicate a closer relationship with Gregory Zilboorg's English translation, the first publication of the novel - for which it might have provided the basis - than the posthumous Chekhov edition. It also provides a slightly fuller and in some respects corrected version of We.
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Danowska, Ewa. "Codzienność w rzeczach śp. Emilii z Friedleinów Majerowej. Inwentarz pośmiertny z 1842 r." Rocznik Biblioteki Naukowej PAU i PAN 64 (2019): 53–86. http://dx.doi.org/10.4467/25440500rbn.19.004.14147.
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Everyday Life in the Things of the Late Emilia Majerowa, Neé Friedlein. A Posthumous Inventory Dated 1842 The manuscript collections of the Scientific Library of the PAAS and the PAS in Cracow (manuscript 3906) include an inventory prepared after the death of Emilia Majerowa, neé Friedlein, who died in Cracow in 1842. Her husband was Wojciech, a lawyer, and her brother-in-law was Józef Majer, the president of the Academy of Arts and Sciences. The inventory of movables was drawn up after their owner’s death; their evaluation played an important role in inheritance proceedings. The reliability of such a document is not questionable. Today it provides information about the material culture of the epoch and social class concerned – in this case, a wealthy intellectual house from the times of the Free City of Cracow. The posthumous inventory of Emilia Majerowa’s property is quite large, containing thoroughly described and evaluated home equipment, clothes, jewellery, a large library for the standards of those times, and financial documents. The edition of the inventory was preceded by a preface with facts about the Majer family, as well as information concerning the characteristics of the posthumous inventory as a legal document. The paper ends with a glossary of Old Polish terms that were still used at that time and are a characteristic part of the 19th-century vocabulary.
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Müllenbrock, Heinz-Joachim. "Standard Edition: Complete Works, Selected Letters and Posthumous Writings (review)." Scriblerian and the Kit-Cats 44, no. 1 (2011): 80–81. http://dx.doi.org/10.1353/scb.2011.0090.
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Fedorko, Kathy. "“Henry's brilliant sister”: The Pivotal Role of Sophia Thoreau in Her Brother's Posthumous Publications." New England Quarterly 89, no. 2 (June 2016): 222–56. http://dx.doi.org/10.1162/tneq_a_00529.
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Ever since the publication of Henry Thoreau's four posthumous essay collections, bibliographers and biographers have credited Ralph Waldo Emerson, in the case of Excursions (1863), or William Ellery Channing, in the case of The Maine Woods (1864), Cape Cod (1865), and A Yankee in Canada (1866), with either editing the collections or co-editing them with Sophia Thoreau, Henry's younger sister. This essay provides evidence from letters, books, diaries, and articles, as well as from the essay manuscripts themselves, that Sophia Thoreau alone edited her brother's essay collections for publication after his death from tuberculosis in 1862. She alone also chose the editor for her brother's Journal before her death in 1876.
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Widmer, Matthias. "The Second Edition of Cowper's Homer." Translation and Literature 28, no. 2-3 (November 2019): 151–99. http://dx.doi.org/10.3366/tal.2019.0384.
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This discussion looks in some depth at the heavily revised second edition, posthumously published in 1802, of Cowper's translation of Homer. For editors and critics it has never displaced the first edition of 1791, yet Cowper's revisions served to correct many of the flaws they diagnosed. It is argued that Cowper's increasing responsiveness to criticism by laymen and scholars alike was neither a symptom of his deteriorating mental state, as Robert Southey claimed, nor a mere expression of his desire to appease hostile reviewers, but rather an extension of the same collaborative modus operandi that helped him produce the translation in the first place. The lack of scholarly attention to the 1802 edition has, until now, prevented proper understanding of Cowper's achievement in translating the Homeric epics.
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Moiseev, Grigory A. "Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich: A Posthumous Dialogue." Observatory of Culture 17, no. 5 (November 12, 2020): 496–509. http://dx.doi.org/10.25281/2072-3156-2020-17-5-496-509.
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Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich (the august poet K. R.) were linked by many years of friendship and creative cooperation. After the composer’s death (October 25, 1893), K. R. became involved in the process of perpetuating his memory. The posthumous dialogue was manifested in various forms: Grand Duke Konstantin Konstantinovich’s participation in church and secular memorial ceremonies, private commemorations, and his close communication with M.I. Tchaikovsky and V.L. Davydov — the composer’s brother and nephew. In addition, K. R. reexamined his creative and epistolary communication with the composer, whose memory he would pass on to his children. These and other aspects are considered in three sections of the proposed article: 1) “Under the Sign of the Liturgy Op. 41” (this spiritual and musical work runs through the whole life of the Grand Duke); 2) “The Grand Duke and M.I. Tchaikovsky” (a key figure in the “human” aspect); 3) “K. R. Reads ‘The Life of Pyotr Ilyich Tchaikovsky’” (one of the most important findings was a copy of the book ‘The Life of Pyotr Ilyich Tchaikovsky’, which belonged to Grand Duke and bears his notes; they retrospectively reflect the process of in-depth family reading). The article is based on documentary materials from Russian and foreign collections (including the State Archive of the Russian Federation and the Library of Congress, USA), many of which are introduced into scientific use for the first time. The article uses methods of comparative source studies. The materials of the article can be used in a course of the history of Russian music, as well as in a modern commented edition of the epistolary heritage and diaries of P.I. Tchaikovsky, M.I. Tchaikovsky and Grand Duke Konstantin Konstantinovich.
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Cawley, Robert, and Michael Tarsh. "Peer Review of “Psychosurgery: Stereotactic Subcaudate Tractotomy." British Journal of Psychiatry 165, no. 05 (November 1994): 612–13. http://dx.doi.org/10.1017/s0007125000073165.
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The following two assessments represent an extract of the peer review of the paper by Bridges et al. The comments of Michael Tarsh are being published posthumously with the permission of his widow. All referees were originally anonymous. The paper has been extensively revised and shortened in the copy-editing.
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Cawley, Robert, and Michael Tarsh. "Peer Review of “Psychosurgery: Stereotactic Subcaudate Tractotomy." British Journal of Psychiatry 165, no. 5 (November 1994): 612–13. http://dx.doi.org/10.1192/s0007125000073165.
Full textAbstract:
The following two assessments represent an extract of the peer review of the paper by Bridges et al. The comments of Michael Tarsh are being published posthumously with the permission of his widow. All referees were originally anonymous. The paper has been extensively revised and shortened in the copy-editing.
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Engammare, Max. "Calvin: A Prophet without a Prophecy." Church History 67, no. 4 (December 1998): 643–61. http://dx.doi.org/10.2307/3169846.
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Only a few months after Calvin's death, August 1564 to be precise, Theodore Beza composed a preface for the posthumous French edition of Calvin's commentary on the book of Joshua: it took the form of a brief biography of the reformer. Describing the death of Calvin, Beza recalled the sadness that invaded Geneva on the announcement of the death of the prophet of God: “The following night, and the day after as well, there was much weeping in the city. For the body of the city mourned the prophet of the Lord, the poor flock of the Church wept the departure of its faithful shepherd, the school lamented the loss of its true doctor and master, and all in general wept for their true father and consoler, after God.”
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Tuckett, Jonathan. "Clarifying the Phenomenology of Gerardus van der Leeuw." Method & Theory in the Study of Religion 28, no. 3 (August 4, 2016): 227–63. http://dx.doi.org/10.1163/15700682-12341361.
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The argument of this paper is that Gerardus van der Leeuw’sReligion in Essence and Manifestationhas been consistently misread. This is due to three factors: i. the “Prolegomena” was changed to an “Epilegomena”; ii. Hans Penner’s additions to the posthumous second edition, and; iii. John Evan Turner’s Hegelian biased translation into English. These factors have contributed to a “Tyranny of the Same” whereby van der Leeuw has been back-read into either phenomenological history-of-religion or phenomenology-of-religion, two inventions of “phenomenology” that began after van der Leeuw. Dealing with the criticisms of Herbert Spiegelberg, Penner, and Tim Murphy, I will argue that van der Leeuw properly belongs under philosophical phenomenology. Read in such a light, this leads to a radically different understanding of “religion” and “power” inReligion in Essence and Manifestation.
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Dill, Olivia, Marc Vermeulen, Alicia McGeachy, and Marc Walton. "Multi-Modal, Non-Invasive Investigation of Modern Colorants on Three Early Modern Prints by Maria Sibylla Merian." Heritage 4, no. 3 (August 4, 2021): 1590–604. http://dx.doi.org/10.3390/heritage4030088.
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Northwestern University’s Charles Deering McCormick Library of Special Collections owns three hand-colored copperplate engravings that once belonged to an edition of Matamorphosis Insectorum Surinamensium by artist-naturalist Maria Sibylla Merian (1647–1717). Because early modern prints are often colored by early modern readers, or modern collectors, it was initially unclear whether the coloring on these prints should be attributed to the print maker, to subsequent owners or collectors, or to an art dealer. Such ambiguities posed challenges for the interpretation of these prints by art historians. Therefore, the prints underwent multi-modal, non-invasive technical analysis to assess the date and material composition of the prints’ coloring. The work combined several different non-invasive analytical techniques: hyperspectral imaging (HSI), macro X-ray fluorescence (MA-XRF) mapping, surface normal mapping with photometric stereo, visible light photography, and visual comparative art historical analysis. As a result, the prints and paper were attributed to a late eighteenth-century posthumous edition of Merian’s work while the colorants were dated to the early twentieth century. This information enables more thorough contextualization of these prints in their use as teaching and research tools in the University collection.
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Hulsenboom, Paul. "Better than Pindar? The Ode by Sidronius Hosschius to Sarbievius and Its Two Versions." Terminus 22, no. 4 (57) (2020): 285—\—314. http://dx.doi.org/10.4467/20843844te.20.016.12536.
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The main aim of this paper is to present and analyse an ode by the Flemish Jesuit Sidronius Hosschius (Sidronius [or Syderoen] de Hossche, 1596–1653) to “the Sarmatian Horace”Mathias Casimirus Sarbievius (Maciej Kazimierz Sarbiewski, 1595–1640). This eulogy has often been viewed as a masterpiece. In addition, it has two distinct versions: one published in a collection of poems in honour of Sarbievius (the socalled Epicitharisma), first printed in an edition of his oeuvre in 1632, and one in the collective volume of Hosschius’s own works issued posthumously in 1656. Both versions were first published by the famous Plantin-Moretus printing house in Antwerp. The paper consists of three sections. The first one focuses on the relationship between Hosschius and Sarbievius and on the Nachleben of Hosschius’s ode. The second section offers a general analysis of the poem. Tracing the contents of Hosschius’s ode and its sources of inspiration, it argues that Hor. Carm. IV 2 is central to the poem’s understanding. The third section discusses the differences between the two versions, in an attempt to disclose why the poem was altered and how the changes influence the ode’s meaning. A number of larger changes affect the poem’s central message: while in the earlier version Sarbievius is said to outdo Pindar and even Horace, the later version is more cautious. All it does is admit that Sarbievius could perhaps equal Pindar and Orpheus. Hosschius’s eulogy and the reception of Sarbievius through his composition have two different traditions: 1) the one found in most editions of Sarbievius’s works, where the poem basically proclaims him to be the best Latin lyricist of all time, thereby tying in with other laudatory contributions and promoting both Sarbievius’s oeuvre and the editions themselves, and 2) the one added to Hosschius’s own poetry, where the adjusted version—which contains more references to ancient literature and which could be called more personal, as well as, perhaps, more realistic—became a fan favourite. In both instances, however, the reinterpretation of the psychological effect of poetry—the translation of furor poeticus from the author to the reader—and the re-evaluation of the concept of aemulatio could be the main reason why Hosschius’s ode was so highly valued.
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Hulsenboom, Paul. "Better than Pindar? The Ode by Sidronius Hosschius to Sarbievius and Its Two Versions." Terminus 22, no. 4 (57) (2020): 285—\—314. http://dx.doi.org/10.4467/20843844te.20.016.12536.
Full textAbstract:
The main aim of this paper is to present and analyse an ode by the Flemish Jesuit Sidronius Hosschius (Sidronius [or Syderoen] de Hossche, 1596–1653) to “the Sarmatian Horace”Mathias Casimirus Sarbievius (Maciej Kazimierz Sarbiewski, 1595–1640). This eulogy has often been viewed as a masterpiece. In addition, it has two distinct versions: one published in a collection of poems in honour of Sarbievius (the socalled Epicitharisma), first printed in an edition of his oeuvre in 1632, and one in the collective volume of Hosschius’s own works issued posthumously in 1656. Both versions were first published by the famous Plantin-Moretus printing house in Antwerp. The paper consists of three sections. The first one focuses on the relationship between Hosschius and Sarbievius and on the Nachleben of Hosschius’s ode. The second section offers a general analysis of the poem. Tracing the contents of Hosschius’s ode and its sources of inspiration, it argues that Hor. Carm. IV 2 is central to the poem’s understanding. The third section discusses the differences between the two versions, in an attempt to disclose why the poem was altered and how the changes influence the ode’s meaning. A number of larger changes affect the poem’s central message: while in the earlier version Sarbievius is said to outdo Pindar and even Horace, the later version is more cautious. All it does is admit that Sarbievius could perhaps equal Pindar and Orpheus. Hosschius’s eulogy and the reception of Sarbievius through his composition have two different traditions: 1) the one found in most editions of Sarbievius’s works, where the poem basically proclaims him to be the best Latin lyricist of all time, thereby tying in with other laudatory contributions and promoting both Sarbievius’s oeuvre and the editions themselves, and 2) the one added to Hosschius’s own poetry, where the adjusted version—which contains more references to ancient literature and which could be called more personal, as well as, perhaps, more realistic—became a fan favourite. In both instances, however, the reinterpretation of the psychological effect of poetry—the translation of furor poeticus from the author to the reader—and the re-evaluation of the concept of aemulatio could be the main reason why Hosschius’s ode was so highly valued.
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Franghiscos, Emmanuel N. "A Survey of Studies on Adamantios Korais During the Nineteenth Century." Historical Review/La Revue Historique 2 (January 20, 2006): 93. http://dx.doi.org/10.12681/hr.185.
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<p>With the exception of a biographical entry on Adamantios Korais (1748-1833) published in 1836 by the Hellenist G. R. L. de Sinner in Paris and of a university discourse by Professor Pericles Argyropoulos, published in 1850 in Athens, scholars and intellectuals in the newly founded kingdom of Greece had not included Korais among their research priorities. Eventually the academic foundations of research on Korais would be laid in the decade 1871-80. The Chiot merchants of Marseille in collaboration with a corresponding committee in Athens planned, among other manifestations honouring their compatriot Korais, the publication of his unpublished writings and his correspondence. The year 1881 saw the inauguration of the series <em>Posthumously found writings</em> with a volume edited by A. Mamoukas, who included a long biographical introduction. In 1885-6 Korais' correspondence was published by Professor N. Damalas. Earlier, in 1877, in Paris from among the ranks of the "Association pour l'encouragement des études grecques en France", neohellenists Brunet de Presle and the Marquis de Queux de Saint-Hilaire had published Korais' correspondence with the classicist Chardon de la Rochette during the French Revolution and with a number of other distinguished French philologists. In a separate edition they published his correspondence with the Swiss philosopher P. Prevost, and Queux de Saint-Hilaire translated and published in French in 1880 Korais' correspondence with the Precentor of Smyrna D. Lotos during the Revolutionary period. In 1889-90 the Greek journalist in Trieste, D. Therianos, published a three-volume biography of Korais, which represents the most important milestone in Korais studies during the nineteenth century. Among more partial approaches to Korais' life and work after Therianos, mention should be made of a critical study in 1903 by the diplomat scholar I. Gennadios, who called Damalas' edition of Korais' correspondence a shame for Greek letters. Although it was too early for nineteenth century authors to see Korais in the perspective of the European Enlightenment, they nevertheless have left important general synthetic works and prepared the ground for subsequent fuller editions of his correspondence.</p>
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Bullard, P. "ANTHONY ASHLEY COOPER, THIRD EARL OF SHAFTESBURY. Standard Edition: Complete Works, Correspondence, and Posthumous Writings, II,6: Askemata." Review of English Studies 64, no. 265 (January 15, 2013): 532–34. http://dx.doi.org/10.1093/res/hgs131.
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Aughterson, Kate. "“The Waking Vision“: Reference in the New Atlantis." Renaissance Quarterly 45, no. 1 (1992): 119–39. http://dx.doi.org/10.2307/2862833.
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Bacon's Only Piece of fictional writing, in addition to the masques he wrote for a Christmas entertainment at Gray'sjnn in 1594, was published posthumously by Rawley. Most commentators assume that he wrote New Atlantis at the time he hoped to become provost of Eton in 1623. Bacon's death in 1626 meant that, apart from the last edition of the Essays in 1625, this was his last major work written in English. Many critics have discussed Bacon's stylistic methods, and several have speculated that his view and practice of linguistic representation in the 1620s had become rigorously non-metaphoric for the purpose of imparting scientific knowledge.
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Bakhtin, M. M. "Bakhtin on Shakespeare: Excerpt from “Additions and Changes to Rabelais”." PMLA/Publications of the Modern Language Association of America 129, no. 3 (May 2014): 522–37. http://dx.doi.org/10.1632/pmla.2014.129.3.522.
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The text translated below is an excerpt from notes the Russian thinker Mikhail Mikhailovich Bakhtin wrote in the mid 1940s as he prepared to revise the manuscript of his now famous book on François Rabelais. The notes were first published, posthumously, in 1992. A corrected edition with commentary, used for this translation, followed in 1996 (Coбpaни COчинений 5: 80-129). The part where Bakhtin focuses primarily on Shakespeare's tragedies is presented here (80-99). The omitted sections contain summaries of materials Bakhtin was reading (on Dante, Galileo and his contemporaries, Heine, and especially Gogol and Ukrainian folk culture), brief comments on various themes (the name and the nickname, Dostoevsky, Cinderella, riddles), and stand-alone philosophical remarks.
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i Alemany, Anna Busquets. "Other Voices for the Conflict: Three Spanish texts about the Manchus and Their conquest of China." MING QING YANJIU 17, no. 01 (February 14, 2012): 35–64. http://dx.doi.org/10.1163/24684791-01701003.
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The entry of the Manchus in the Chinese Empire introduced a new subject matter into the works about China that had been circulating in Europe until that time. In the second half of the XVII century, the Jesuits inundated the European scene with different publications centred on this historical event. In Spain, there were also texts that covered the changes in the Chinese dynasty right from the start. Specifically, information about the fall of the Ming dynasty basically came from three sources: the text by Bishop Juan de Palafox y Mendoza, Historia de la conquista de China por el Tártaro (1670, posthumous edition); the Hechos de la Orden de Predicadores en el Imperio de China (1667), by the Dominican Victorio Riccio, and the news collected by another Dominican, Fernández de Navarrete, in his Tratados históricos, políticos, éticos y religiosos de la monarquía de China (1676). The objective of this essay is to present these three authors and their works, analysing the information that they offer about the entry of the Manchus in China and the relation between them.
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Beltrán, Vicenç. "Rodrigo Osorio sobre dos coplas que se hallaron al señor don Jorge Manrique en el seno cuando lo mataron. Un nuevo testimonio manriqueño = Rodrigo Osorio sobre dos coplas que se hallaron al señor don Jorge Manrique en el seno cuando lo mataron. A new testimony of Jorge Manrque." Lectura y Signo, no. 15 (December 23, 2020): 141–62. http://dx.doi.org/10.18002/lys.v0i15.6470.
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Uno de los testimonios conocidos de las dos coplas póstumas de Jorge Manrique es el pliego suelto recientemente descubierto que se atribuye a Rodrigo Osorio, con seguridad el antígrafo de donde estas pasaron al Cancionero general de 1535. El estudio de este pliego permite acercarnos a una identificación de su autor y a los ambientes en que fue escrito y a la vez se convierte en un testimonio privilegiado para conocer el impacto de Manrique sobre la producción poética de principios del siglo XV. One of the known witnesses of the two posthumous stanzas of the Coplas by Jorge Manrique is a chap-book recently discovered, attributed to Rodrigo Osorio, in all probability the antigraph from which they were taken for the 1535 edition of the Cancionero general. By studying this chap-book we discover the identity of its author and the circumstances in which it was written. At the same time, it becomes a preferred witness to understand the influence that Manrique had on early sixteenth-century poetry.
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Müllenbrock, Heinz-Joachim. "Anthony Ashley Cooper, Third Earl of Shaftesbury. Standard Edition: Complete Works, Selected Letters and Posthumous Writings (review)." Scriblerian and the Kit-Cats 45, no. 1 (2012): 99–100. http://dx.doi.org/10.1353/scb.2012.0053.
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Vansina, Jan. "On Ravenstein's Edition of Battell's Adventures in Angola and Loango." History in Africa 34 (2007): 321–47. http://dx.doi.org/10.1353/hia.2007.0022.
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Between 1590 and ca. 1610 the English sailor Andrew Battell lived in Central Africa, first in Angola until 1606/07 and then in Loango. His reports about these lands are a priceless source for the otherwise poorly documented history of Angola between ca. 1590-1606, especially since his is the only known eyewitness account about the way of life of the notorious Jaga. He actually lived with one of their bands supposedly for at least twenty months (26-27). In addition his account is also one of the very earliest about Loango. Hence modern historians of Angola and Loango have relied extensively on him. They all, myself included, have used the text edition by E.G. Ravenstein of The Strange Adventures of Andrew Battell of Leigh (London, 1901) and did so without referring back to the original documents. These are, first Battell's information in Samuel Purchas' Purchas His Pilgrimage, or Relations of the World and the Religions observed in all Ages and Places discovered from the Creation unto the Present (London, 1613), and later, the more detailed “The Strange Adventures of Andrew Battell” in Samuel Purchas His Pilgrimes (London, 1625), also known as Hakluytus posthumus after its frontispiece. Given the absolute reliance of modern scholars on Ravenstein, it is worthwhile to evaluate its reliability compared to the original publications.
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Branch, Lori. "ASKÊMATA [Exercises]. Vol. 2.6 of The Shaftesbury Standard Edition: Complete Works, Correspondence and Posthumous Writings (review)." Eighteenth-Century Studies 46, no. 2 (2013): 320–21. http://dx.doi.org/10.1353/ecs.2013.0003.
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Louttit, Chris. "“A Favour on the Million”: The Household Edition, the Cheap Reprint, and the Posthumous Illustration and Reception of Charles Dickens." Book History 17, no. 1 (2014): 321–64. http://dx.doi.org/10.1353/bh.2014.0013.
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Merleau-Ponty, Maurice. "Sense and Nonsense. Cézanne’s Doubt." Sledva : Journal for University Culture, no. 41 (August 19, 2020): 36–49. http://dx.doi.org/10.33919/sledva.20.41.6.
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Sense and Nonsense (Sens et non-sens) is the first major collection published by Maurice Merleau-Ponty at Editions Nagel in 1948. The triple division of topics dedicated to art, philosophy, and politics will be kept up to his last posthumously published book, Visible and Invisible (1964). Similarly, his specific theory of art is fostered through the years by his interest in Cézanne’s life and work. Cézanne’s Doubt is a key text for any philosophy due to the challenging questions it poses ranging from psychoanalysis and depth psychology to ontology of art, awareness of meaning, predetermination, and freedom borne by the contact of one’s interior and exterior world. With the Doubt we continue to ask ourselves: What is that all-encompassing which is expressed by the small word ‘see’? How to grasp the positive sense of creativity? What is that ‘more enigmatic intertwined inthe very roots of being’? (The text appears for the first time in Bulgarian translated from the French by prof. Lidia Denkova.)
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Eales, Jacqueline. "Samuel Clarke and the ‘Lives’ of Godly Women in Seventeenth-Century England." Studies in Church History 27 (1990): 365–76. http://dx.doi.org/10.1017/s0424208400012171.
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When Samuel Clarke’s The Lives of Sundry Eminent Persons in this Later Age was published posthumously in 1683, the ‘godly life’ was a well-established genre of Puritan literature. Clarke himself had contributed to its popularity with his various compilations of’lives’ of ministers and laity culled primarily from published funeral sermons and spiritual biographies by other authors. Today such editions would be regarded as blatant plagiarism, but in the mid-seventeenth century, before the advent of the copyright laws, they were widely appreciated, and in the Introduction to this, his last work, Clarke wrote, I have been encouraged to make this collection, and now to publish it, finding that my former labours in this kind have been accepted with the Saints, and in the Church of Christ: which is apparent, for that they have been printed four times in a few years space, and yet never less than a thousand at a time.
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Chan, Eleanor. "Beautiful Surfaces." Nuncius 31, no. 2 (2016): 251–87. http://dx.doi.org/10.1163/18253911-03102001.
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The assumption that the Cartesian bête-machine is the invention of René Descartes (1596–1650) is rarely contested. Close examination of Descartes’ texts proves that this is a concept founded not on the basis of his own writings, but a subsequent critical interpretation, which developed and began to dominate his work after his death. Descartes’ Treatise on Man, published posthumously in two rival editions, Florentius Schuyl’s Latin translation De Homine (1662), and Claude Clerselier’s Traité de l’ homme, has proved particularly problematic. The surviving manuscript copies of the Treatise on Man left no illustrations, leaving both editors the daunting task of producing a set of images to accompany and clarify the fragmented text. In this intriguing case, the images can be seen to have spoken louder than the text which they illustrated. This paper assesses Schuyl’s choice to represent Descartes’ Man in a highly stylized manner, without superimposing Clerselier’s intentions onto De Homine.
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Brubaker, Leslie. "Byzantine Visions of the End." Studies in Church History 45 (2009): 97–119. http://dx.doi.org/10.1017/s042420840000245x.
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As is well known, western medieval apocalyptic literature owes a considerable debt to Byzantine apocalyptic literature, which itself built on Roman and Jewish sources. The classic studies are now Evelyne Patlagean’s ‘Byzance et son autre monde’, published in 1981; Paul Alexander’s The Byzantine Apocalyptic Tradition, published posthumously in 1985; and Jane Baun’s edition and commentary of three Middle Byzantine apocalyptic texts that appeared in 2007. In addition, Paul Magdalino has recently published several articles on the theme. On top of this, numerous studies connect specific Byzantine apocalypse traditions to particular political events, most notably the Islamic conquests of the seventh and eighth centuries. Byzantine eschatology has been even more thoroughly studied, and, with the subtitle ‘Views on death and the last things’, was the subject of a recent (1999) Dumbarton Oaks symposium.
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Vikárius, László. "Transfigurations of The Miraculous Mandarin: The Significance of Genre in the Genesis of Bartók’s Pantomime." Studia Musicologica 60, no. 1-4 (October 21, 2020): 23–68. http://dx.doi.org/10.1556/6.2019.00003.
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Based on a fresh study of all primary sources of Bartók’s The Miraculous Mandarin (composition: 1918/19, orchestration: 1924) the article reconsiders the entire history of composition and repeated revisions of the work. The original choice of genre (expressive “pantomime” in contrast to “ballet”) seems to have played a significant role in this troubled history, which shows the composer’s efforts to transform sections of the original “gesture” music into a more symphonic style often making the music more succinct. Puzzlingly, the first full score of the complete work and a revised edition of the piano reduction published posthumously in 1955 by Universal Edition present an abridged form of the work, which cannot be fully authenticated and was finally restored to its more complete form in Peter Bartók’s new edition of 2000. Looking for the possible origin of the more obscure cuts, discussions with choreographer Aurelio Milloss in 1936 and Gyula Harangozó in 1939/40, both of whom later directed and danced productions of the work under the baton of János Ferencsik with great success (in Milan in 1942 and in Budapest in 1945, resp.), should probably be taken into consideration as these might have resulted in the integration of cuts into the published full score. Apart from trying to understand the different stages of the work’s long evolution, the article argues that it is essential to study the original version in the compositional sources since it reveals Bartók’s first concept of the piece composed in his period of highest expressionism.
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Vasic, Aleksandar. "Music in Serbian literary magazine and Yugoslav ideology." Muzikologija, no. 4 (2004): 39–59. http://dx.doi.org/10.2298/muz0404039v.
Full textAbstract:
It is worth noting that the important journal of the history of Serbian literature and music, the Serbian Literary Magazine (1901 - 1914, 1920 1941), became more Yugoslav-oriented within a relatively short period following its inception. From its early beginning to 1906, the Magazine?s musical critics did not actively express its Yugoslav ideology. But from 1907 there was an increase of interest in both the music and the musicians from Croatia and Slovenia. In 1911 the Croatian Opera spent almost two weeks in Belgrade performing; the composer and musicologist, Miloje Milojevic began to develop the idea of union with Slavs from the South in a critical analysis he rendered of their performance. Until the end of the first/old series, SLM highlighted a noticeable number of texts about Croatians and Slovenians: critical reviews of Croatian musical books, concerts of Slovenian artists in Belgrade, score editions of Slovenian music performances of instrument soloists from Zagreb in Belgrade - as well as notes about the musical work of Croatian Academy (Yugoslav Academy of Sciences and Arts, Zagreb). Echoes of rare tours of Serbian musicians in South Slavs cultural centers did not go unheard, either. In the older series of the journal, lasting and two-fold relations had already begun to lean towards Yugoslav ideology. From one side, even before World War I, Yugoslav ideology in the Magazine was accepted as a program objective of Serbian political and cultural elite. On the other, the journal does not appear to have negotiated any of its aesthetic criterion when estimating musical events that came from Zagreb and Ljubljana to Belgrade - at least not "in the name of Yugoslav ideology". In later series of SLM, the Yugoslav platform was being represented as official ideological statehood of newly created Kingdoms of Serbs, Croats and Slovenians (1918), i.e., the Kingdom of Yugoslavia (1929). At that time, the Magazine had occasional literary cooperation from Croatian musical writers such as Lujo Safranek-Kavic, Bozidar Sirola and Antun Dobronic. Their articles described activities of the Croatian National Theatre and evaluated new works of Croatian composers. But they were not at all remiss about acknowledging great masterpieces of European music being performed in Zagreb in their day, either. The works of Claude Debussy, Pell?as et M?lisande; Ludwig van Beethoven, Missa solemnis Richard Wagner, Lohengrin were also followed through reviews, albeit within a curious Croatian-paradigm of musical history which included musical and dramatic theatre from Ljubljana, Zagreb, Split, Sarajevo, Skoplje, Osijek. In other words, they seem to have been aware of the cultural differences without ignoring what from them were shared in common. Before the First World War, SLM classified Bulgarians together with Serbs, Croats and Slovenians, as the future "Yugoslav nation". When the reality of politics clouded their vision, the Magazine?s musical critics nevertheless pursued a troupe of Bulgarian performers to visit Belgrade, and thus added to their repertoire from works of Bulgarian composers. Among musical contributors to the journal were the eminently known "Yugoslavs", Dr Miloje Milojevic (1884 - 1946) and Dr Viktor Novak (1889 - 1977). From Croatia and Slovenia musicians Juro Tkalcic and Ciril Licar, Milojevic spoke about "our national artists" and praised musicians who, in their program, included compositions of "all Yugoslav nations". Dr Novak demanded that Belgrade become the musical capital of South Slavs, and invited Belgrade Opera to show on its scene the best Serbian, Croatian and Slovenian operas and ballets. From its onset, the Kingdom of Yugoslavia was burdened by heavy political and economical problems. That would also lead to bitter dispute about Yugoslavian ideology. Nevertheless, SLM did not renounce the system of its objectives and values upon which it was built. But there is one particular section where the Magazine?s inconsistency can be noticed - when seen from a Yugoslav dimension of the journal - is the necrology column. Magazine did not publish even one obituary of Croatian musicians, and wrote fragmentary unclear and unconvincing criterion about Slovenians. However, it would be neither appropriate, nor real, to interpret incompleteness of the Magazine?s musical necrological texts in purely ideological light. Namely an insufficient number of musical contributors from all Yugoslav provinces - with the exception of Serbia - was probably the main reason for these omissions. After all, SLM was a literary journal and, as such, entertained numerous literary problems and questions. At some point, the editors must have agreed that the information in the field of musical posthumous articles was insufficient. The obvious absence of said would indicate that they did.