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[cat] Amb l'eloqüent subtítol de «Romanística y Atlanticidad», aquest nou congrés vinculat a la veterana Société de Linguistique Romane tingué com a seu la Universitat de La Laguna (Tenerife), al cor de l'illa major de les Afortunades. La seu canària del congrés reivindicava així l'atlanticitat que defineix l'arxipèlag, com també el seu paper històric de pont envers el Nou Món. I cal agrair a l'organització, encapçalada per Dolores Corbella (presidenta), Josefa Dorta (vicepresidenta) i Rafael Padrón (secretari), sense oblidar el seu sòlid equip de col·laboradors, la celebració d'una setmana magnífica per a la romanística internacional.

Produced as part of the ERCEuropean Ars Novaproject, the essay presents a research on the ten texts set to music by the French composer Solage, who was probably active between the late 14th and early 15th century. With the aim of enhancing the Ars Nova repertoire also from the point of view of the texts, which have always been marginalised in comparison to the music and are often the subject of philologically unreliable works, the contribution proposes a renewed edition of some pieces and a discussion of individualloci, with proposals for alternative readings and interpretations to the established editions. Solage’scorpusis configured as an exemplary study of the “misfortune" of the French repertoire: it allows us to make explicit the methodological criteria adopted by the Ars Nova team during the edition process, and then to present some initial points of investigation useful for delving into the cultural background of the authors.

Participación en elColóquio Ibéricas - Mulheres e mediação cultural no espaço peninsular, celebrado en la Universidade de Lisboa los días 23, 24 y 25 de noviembre de 2022.Además de la presentación de lacomunicacióntitulada «María Goyri y Carolina Michaëlis: Líneas paralelas en el estudio del romancero», se adjunta a continuaciónel resumen: «Carolina Michaëlis (1851-1925) y María Goyri (1873-1954) son dos figuras clave para el estudio del romancero panhispánico. La filóloga alemana-portuguesa fue una pionera en este campo al realizar en 1875 una de las primeras ediciones del Romancero del Cid, que hasta la fecha es la más completa con más de doscientos romances compilados; pero sobre todo destaca por sus Estudos sobre o Romanceiro Peninsular: Romances Velhos em Portugal, publicados entre 1907 y 1909, donde inventarió y estudió 300 referencias romancísticas en la literatura portuguesa medieval y renacentista. María Goyri recorrió con su marido numerosos pueblos de España en busca de romances y fue la responsable de clasificar, ordenar y catalogar las miles de versiones recopiladas de la tradición oral moderna que configuran el Archivo del Romancero Menéndez Pidal - Goyri. También dedicó numerosas publicaciones al estudio de romances viejos y, especialmente, a la influencia del romancero tradicional en Lope de Vega. Sin embargo, su obra más importante como filóloga, fue la identificación de 2000 referencias a romances en la literatura española de los siglos XV, XVI y XVII, un proyecto claramente inspirado en el trabajo previo de su homóloga alemano-portuguesa. El objetivo de esta comunicación es revisar las aportaciones de Carolina Michäelis y María Goyri en el estudio del romancero resaltando los paralelos y conexiones entre ambas filólogas.&raquo

The contribution focuses on the historical development, the current situation and the future perspectives of Italian linguistics in German-speaking countries

The anonymous French Ovide moralisé is the first full translation of Ovid’s Metamorphoses, covering nearly 72,000 lines of octosyllabic verse. Its author incorporated earlier renderings of the tragic love stories of Philomela and Pyrame et Thisbé, adapted the remaining myths recounted in Ovid’s poem, and inserted additional ones for a readership no longer familiar with classical mythology. The medieval French author, however, not only translated and compiled myths, but also attempted to explain them based on the Christian four senses of Scripture. Ovid, so goes the message transmitted in the medieval adaptation, was not so much writing about Antique mythology as he was attempting to convey a Christian meaning concealed beneath the individual myths. To unveil this hidden meaning, the medieval author added exegetical interpretations to his translation—i.e., the moralisations that give the text its name and turn it into what is presumably the longest verse text in medieval French literature. Its date of composition is unknown, but it must have existed in 1328, since a manuscript of the work is mentioned in an inventory of items owned by Clemence of Hungary established the same year. Today, the text is most commonly dated between 1315 and 1325. It is thus relatively late regarding what has famously been called the aetas ovidiana of the twelfth and thirteenth centuries, which also witnessed the first adaptations of the “Matter of Rome” into vernacular languages. The literary current that explains the emergence of the Ovide moralisé is the allegorical tradition, which took off toward the end of the thirteenth century with the Roman de la Rose and gradually touched a broad array of texts. Notwithstanding its length, the Ovide moralisé enjoyed a considerable career, as some twenty preserved manuscripts and two independent prose renderings show. Its considerable literary fortune during the Middle Ages stands in sharp contrast to the relative indifference of modern critics toward the work until relatively recently. Despite the existence of a reliable edition, it was not until the late twentieth century that the Ovide moralisé began to attract scholarly interest. Much remains to be said about its manuscript tradition and manifold sources. Moreover, the Latin and vernacular glosses in some witnesses offer a field of research modern critics have only just begun to explore. Around 2007 an international consortium of scholars—Ovide en Français (OEF)—formed in order to explore different aspects of the text and to prepare a new critical edition of the Ovide moralisé. The present bibliography relies heavily on the work accomplished by this team and aims to offer an overview of the relevant areas of ongoing research, as well as outline some of the crucial and as yet unanswered questions surrounding the work.

This paper partially presents a diplomatic 19th-century edition of the Livro de Fábrica, committed to writing in Cachoeira do Brumado, a village of Mariana, Minas Gerais. This text has a two-fold objective: (i) to discuss the importance of the transcription carried out stemming from philological criteria, which supports the edition, making it suitable for research on the history of Brazil's Portuguese language (BP) and (ii) to show/analyze the variation of pretonic vowels, through writing, collected from this manuscript. After the transcription of the document and according to the rules established for this purpose, cases of raising and lowering of pretonic vowels were evidenced, based on Bisol (1981), Magalhães (2013) among other authors. In summary, we discuss how this type of document is important to know and make known the past stage of the Portuguese language, and, in this specific case, the variation of pretonic vowels, once the manuscript receives a reliable philological treatment. Para o presente artigo, apresentamos, parcialmente, a edição diplomática do Livro de Fábrica, pertencente ao século XIX, exarado no distrito de Cachoeira do Brumado (Mariana-MG). O objetivo deste texto é duplo: (i) fazer uma discussão sobre a importância da transcrição feita com critérios filológicos, o que dá respaldo à edição, tornando-a apta para uma pesquisa sobre a história da língua portuguesa do Brasil (PB) e (ii) mostrar/analisar a variação de vogais pretônicas, via escrita, recolhidas desse manuscrito. Após a transcrição do referido documento, com base em normas estabelecidas para esse fim, foram levantados casos de alçamento e abaixamento de vogais pretônicas, com base em Bisol (1981), Magalhães (2013) dentre outros autores. Quanto às considerações finais, discutimos como esse tipo de documento é importante para conhecermos e darmos a conhecer o estágio pretérito da língua portuguesa, no caso específico a variação de vogais pretônicas, desde que o manuscrito receba um tratamento filológico fidedigno.

l’arte di narrare si avvia al tramonto.Capita sempre piú di rado d’incontrare persone che sappiano raccontare una storia ...Walter Benjamin, Il narratore Nell’ambito di una ricerca dedicata alla presenza della cultura ebraica medievale nella letteratura italiana, e in particolare, nell’opera di Boccaccio, dagli Zibaldoni al Decameron, si è naturalmente imposta la figura di Yosef ben Meir Ibn Zabara con il suo Libro delle delizie, il Sefer Sha’ashuim. Infatti quella raccolta di racconti in...

1. A margine La storia dell’eremita Jean Paulus occupa una posizione decisamente periferica nel quadro della narrativa breve di epoca medievale: ne conosciamo, è vero, diverse forme, in particolare in lingua d’oïl e in italiano, ma si tratta per lo piú di opere a testimone unico, che dunque non dovettero avere ampia diffusione; pubblicate ormai molto tempo fa, hanno incontrato da allora un interesse limitato presso la critica. Le ragioni di questa fortuna ridotta sono con ogni probabilità int...

Alla centralità del tema amoroso nella narrativa breve non di rado si connette o si affianca la rappresentazione dell’irrazionalità e della follia, in diversi gradi, forme e manifestazioni: dal tragico al comico, dal drammatico al grottesco, dal serio e grave al parodico e irridente. A tali tematiche, dal Medioevo a Cervantes, e alle loro differenti declinazioni – cui si oppongono specularmente, con maggiore o minore frequenza e intensità, i richiami a principi d’ordine, ragione e misura – sono dedicati i saggi di questo volume, che trae origine dal confronto e dialogo di un gruppo di studiosi di più ambiti disciplinari: Letteratura italiana (Johannes Bartuschat, Anna Maria Cabrini, Sandra Carapezza, Claude Cazalé Bérard, Cristina Zampese); Filologia romanza (Beatrice Barbiellini Amidei, Luca Sacchi); Letteratura spagnola (Antonio Gargano, Maria Rosso); Linguistica italiana (Giuseppe Polimeni).

1. Messer Riccardo, veggendosi a mal partito e pure allora conoscendo la sua follia d’aver moglie giovane tolta essendo spossato, dolente e tristo s’uscí della camera e disse parole assai a Paganino le quali non montarono un frullo. E ultimamente, senza alcuna cosa aver fatta, lasciata la donna, a Pisa si ritornò; e in tanta mattezza per dolor cadde, che andando per Pisa, a chiunque il salutava o d’alcuna cosa il domandava, niuna altra cosa rispondeva, se non: “Il mal furo non vuol fest...

Questo intervento vuole riunire alcuni appunti sul concetto in Boccaccio di «matta bestialità». Concetto chiave per intendere, nell’autore, il passaggio e l’evoluzione dall’amore cortese a una nuova etica umana. L’espressione come è noto viene utilizzata dal Boccaccio in Decameron, X, 10, 3 e posta in bocca a Dioneo, ultimo narratore della decima novella della decima giornata, che assai severamente giudica l’operato sadico del Marchese di Saluzzo nel pigliar prova della pazienza e della costa...

Nella vita come nella letteratura l’ossessione amorosa, che si spinge in chi la patisce sino alla follia, suole sovente alimentarsi della gelosia. La gelosia maniacale finisce, perciò, per rivelarsi la piú energica alleata della passione amorosa, a cui fa da stimolo capace di nutrirla, sostenerla e rivitalizzarla. Nei mariti, poi, la gelosia dissennata fa spesso coppia con la vecchiaia, con l’effetto d’indurli a stoltamente segregare le belle e giovani mogli. Motivo che risale a un’estesa tra...

Il rilievo del tema della follia nel XVI secolo non merita neppure di essere sottolineato; significativamente due capolavori europei ne sono impressi fin dal titolo: l’Encomio di Erasmo e il Furioso ariostesco. Altrettanto nota è la posizione importante che esso occupa nelle rinascimentali conversazioni letterarie, di cui è prova il Cortegiano. La novella cinquecentesca recepisce lo stimolo a rappresentare la straordinaria devianza dal comportamento normato, che si concreta nella follia, perc...

Se Amore e Morte sono, nei versi leopardiani, nati da un parto gemino («Fratelli, a un tempo stesso, Amore e Morte / ingenerò la sorte»), anche Amore e Follia costituiscono talora un binomio che ha alimentato la produzione letteraria di tutte le epoche, dall’a-more di Davide e Betsabea e di Tamar e Amnon del Secondo libro di Samuele, all’amor passionale già presente nella letteratura greca antica alla fol’amor trobadorica al-l’amour fou di romantica ispirazione. Né mancano casi di tragica sim...

Nella varietà della scelta di «accidenti che a la giornata accadeno» – sentiti raccontare in diversi luoghi, secondo la finzione narrativa che presiede alle quattro parti della raccolta bandelliana – la presenza della pazzia, a livello tematico e semantico, ha uno spazio rilevante e significativo. È un aspetto, questo, che certo si coniuga sia con le riflessioni sull’umana follia e le sue rappresentazioni cinquecentesche – da Erasmo ad Ariosto, solo per citare due poli essenziali anche dal pu...

«Madre, conche, conchette, secchie, secchiette, mastelle, mastellette, ché Pietro è carico di pesce!». Con un ritornello, che itera nel racconto la reduplicazione dell’alterato, in una fissità scanzonata e in parte, a lungo andare, inquietante, Pietro, che tutti “chiamano” Pietro pazzo, giovane poverissimo e pazzo, di mestiere pescatore, apostrofa la madre ogni volta che fa ritorno a casa, dopo una giornata di pesca. Nulla di strano, se non il fatto che, a causa della “fortuna” che gli è “nem...

The article is dedicated to the 70th birthday of V. B. Burbelo, professor of Taras Shevchenko National University of Kyiv. As a renowned philologist, she has gone a long way from teacher to professor at her alma mater having raised several generations of romance philologists. V. B. Burbelo is remarkable as a professional for serving the ideals of democratic society, culture, education, development of independent Ukraine as a worthy partner of France, Europe and international organisations. Nowadays, she is one of the leading specialists in Romance languages in Ukraine who succeeded in making a valuable contribution to Ukrainian humanitaristics. Her work has received numerous rewards including "Order of Academic Palms" (Knight grade). The article deals with the milestones of her professional journey.

The purpose of the author is to find the main motive why Auerbach chose to use the non-disciplinary term “European philologists” and what he meant by that. I argue that Auerbach’s consciousness of Europe as a historical entity was formed in the 1920s, but his exile turned this consciousness into a position. A basic question is about the symbolic geography of European culture in the works of Auerbach. The synonymous use of Europe and Abendland distinctly reveals Auerbach’s dual, unifying/divisive understanding of the identity and symbolic geography of European culture. If we accept the opinion that the European has been represented for centuries by the Romance, then the tasks of Romance philology as European philology will become clearer and the cultural geography of Europe narrower. The cultural-historical identification of Europe and Abendland after the Second World War solidified the anyway existing division of Europe in to two blocs. Literary history and philology divided Europe in the way this was done by the relevant political doctrines too. The human sciences also contributed significantly to the creation of value-attitudes, and an investigation of the former from this perspective gives us additional reason to assume that the agreement on the division of Europe after the Allied victory was not based solely on strategic interests.

To speak of a new functioning of “Romance philology”, the article reflects on the problems and challenges facing our discipline, resulting from the crisis in the humanities and their teaching. In this view, the perspective outlined by Martha Nussbaum and Michał Paweł Markowski shows that these problems and challenges are not only a risk but also an opportunity for “Romance philology” insofar as the idea of “teaching for democracy”, advocated by these two authors, corresponds perfectly to the actual content of our courses and research work, inextricably linked to the French tradition. They must, however, take a new form to circulate in the media reality of today.

International audience; Dieser Beitrag ist dem französischen Philologen Charles Bonnier (1861-1926) gewidmet. Seine Kritik an den Theorien und Methoden seiner Zeit hatte zur Folge, dass seine Abschlussarbeit an der Pariser École des chartes von dem damals einflussreichsten Romanisten Paul Meyer (1840-1917) abgelehnt wurde. Daraufhin ging Bonnier nach Deutschland, wo er an der Universität Halle bei Hermann Suchier (1848-1914) promovierte; später erhielt er eine Anstellung in England (Oxford, Liverpool). Heute gilt Bonnier als Vorläufer der modernen Skriptaforschung; über sein Denken und seine akademische Laufbahn ist indessen noch wenig bekannt.; This contribution is dedicated to the French philologist Charles Bonnier (1861-1926), who dared to criticize the philological doxa of his time. As a result, Paul Meyer (1840-1917), one of the most influential philologists, refused his thesis at the École des chartes (Paris). Bonnier went to Germany, where he completed his doctorate at the University of Halle under the supervision of Hermann Suchier (1848-1914); later on he held teaching positions in England (Oxford, Liverpool). While Bonnier is regarded today as a pioneer of modern scripta research, his ideas and academic career still remain widely unknown.; Cette contribution retrace le parcours de Charles Bonnier (1861–1926), philologue français qui osa critiquer la doxa philologique de son époque. La sanction fut immédiate : Paul Meyer (1840–1917), l’un de ses représentants les plus influents, refusa son mémoire de fin d’études à l’École des chartes. Bonnier partit alors pour l’Allemagne où il rédigea, à l’université de Halle, une thèse sous la direction de Hermann Suchier (1848–1914) avant d’obtenir un poste d’enseignant en Angleterre (Oxford, Liverpool). Si Bonnier est considéré aujourd’hui comme l’un des précurseurs de la scriptologie moderne, son parcours académique et sa réflexion philologique restent largement méconnus.

Amb la regularitat habitual -cada tres anys- dels congressos internacionals de lingüística i filologia romàniques que organitza la Société de Linguistique Romane, es va celebrar, a continuació del de Roma (XXVIII, juliol de 2016), un nou congrés, aquest cop fora de l'espai romànic: a Copenhaguen (XXIX, juliol de 2019). Aquesta seu 'exterior' respecte de la Romània explica la tria d'un parell de línies temàtiques relacionades (1) amb la situació lingüística de l'àmbit nòrdic o escandinau i (2) amb la romanística conreada en aquesta àrea nord-continental.

During his exile in Rome, the Catalan priest Antoni de Bastero i Lledó (1675-1739), undertook the task of writing a vocabulary of Italian words derived from Provençal language. This study, retracing the ideological basis on which Bastero built a canon of the Catalan literature, shows how and why the most important place was assigned to Ausiàs March

Il canzoniere provenzale N2, libro di appunti di Giulio Camillo Delminio, è considerato un recentior di indiscussa importanza per la rarità dei testi che tramanda. Questo studio si propone di indagare le ragioni di ordine culturale (da collocarsi nell’orbita del petrarchismo cinquecentesco) che orientarono la selezione dell’umanista e di ricostruire la fisionomia del suo modello, andato perduto. Elementi macrostrutturali, ordinamento dei testi e varia lectio sono indizi presi in esame nel tentativo di collocare N2 all’interno della rete genealogica dei canzonieri (disegnata da Avalle nel 1961 e approfondita da studi più recenti). L’edizione diplomatica della silloge permette infine di osservare l’atteggiamento del trascrittore nei confronti della lingua e della materia provenzale.

Les romans arthuriens ont traditionnellement été un terrain d’enquête pour les approches sociologiques. Grâce aux études réceptionnelles, l’attention s’est déplacée des contenus vers la relation entre texte et contexte. Nous essayerons de mettre en valeur ces acquis récents par une vision plus globale de la tradition textuelle, vue dans son intégralité et dans sa vitalité en mettant à l’épreuve le stemma codicum. Nous tenterons de l’explorer, y compris ses blancs., Arthurian romance has traditionally served as a testing ground for the sociological approach to medieval literature. Thanks to reception studies, attention has shifted from the contents to the relationship between text and context. This contribution extends these new approaches into an overarching vision of the textual tradition, seen in its entirety and in its vitality, by highlighting the potential of the stemma codicum. We will attempt to investigate it, including the blanks spaces within.

Stylometric analysis of medieval vernacular texts is still a significant challenge: the importance of scribal variation, be it spelling or more substantial, as well as the variants and errors introduced in the tradition, complicate the task of the would-be stylometrist, by inducing noise and perhaps even interferences in the authorship signal. Basing the analysis on the study of the copy from a single hand of several texts can partially mitigate these issues (Camps and Cafiero, 2013, Setting bounds in a homogeneous corpus: a methodological study applied to medieval literature. Revue Des Nouvelles Technologies de l’information (RNTI), SHS-1, pp. 55–84), but the limited availability of complete diplomatic transcriptions might make this difficult. In this article, we use a workflow combining handwritten text recognition and stylometric analysis, applied to the case of the hagiographic works contained in MS BnF, fr. 412. We seek to evaluate Paul Meyer's hypothesis about the constitution of groups of hagiographic works, as well as to examine potential authorial groupings in a vastly anonymous corpus.

This special issue of Romance Philology developed in response to the an-nouncement of celebrations in honor of the 50th anniversary of the Apollo 11 space ight, the rst manned landing on the Moon, which oc-curred on 20 July 1969. Many festivities and retrospectives were scheduled in anticipation of the event, yet it seemed unlikely that Philology would be among those invited to attend. If present-day concerns had failed to rec-ognize her rightful place at the table, if there was no longer any Martianus Capella to see to arrangements for the Liberal Arts, then Philology and her handmaidens, Astronomy among them, would just have to throw their own party.

The present paper is based on a research implemented with the second year students of Romance Philology, which took place in winter 2014/2015. Its purpose was to assess efficiency of b-learning used to improve the integration of lexical skills development with divergent thinking during our creative workshops. First of all, we provide the ex-planation of how the work on Moodle was planned. We then propose an analysis of the results of a survey carried out among our students to assess formal and functional level of their work on the platform. Finally, we share our reflections on the benefits, limitations and possible obsta-cles of the implementation of b-learning during a course, as well as some suggestions to optimize the objectives.

Encara dins d'aquesta introducció, signada per tots dos coeditors, es presenten els cinc grans espais que configuren el manual: (1) gal¿loromànic, (2) iberoromànic, (3) italo- i retoromànic, (4) la Romània del Sud-Est i (5) la Nova Romània. Però el major protagonisme d'un d'ells, Otto Winkelmann, es reflecteix en l'autoria única del primer capítol, general, sobre teories i mètodes de la investigació, a més de les «vues d'ensemble» ['panoràmiques'] introductòries de quatre dels cinc blocs: (1) Gal¿loromània, (2) Iberoromània, (3) Italoromània i Retoromània i (4) la Romània del Sud-Est. La panoràmica restant, sobre Iberoromània, corre a càrrec de l'altra coeditora, Christina Ossenkopp. I cal observar encara que se segueix la pauta, general als MLR, d'encapçalar cada capítol amb un resum (Abstract) i les paraules clau (Keywords), a la manera de les revistes científiques, a més de la bibliografia de referència. Resseguirem els cinc blocs i el conjunt de vint-i-sis capítols segons afinitats temàtiques i motivacionals.

Our life with Ezio and Memories of War, written by Flora Aghib Levi D’Ancona traces the life of her husband Ezio Levi, a Jewish Italian philologist and hispanist, their experiences of exile in the US where the couple fled after the racial laws. Completed with a historiographical introduction and an appendix of unpublished letters, the volume traces Ezio’s path as a Jewish intellectual in Fascist Italy, his role as a cultural mediator of Spanish contemporary literature to Italy, the trauma of the racial laws, and the challenges of the American exile. Expression of a women’s exile literature, the pages reflect the authors experience as a mother writing for her children left in Italy and of an intellectual Italian Jewish woman dealing with the challenges of exile and memory. Scritto dalla vedova Flora, La Nostra Vita con Ezio documenta la vita dell’accademico, filologo e ispanista ebreo italiano Ezio Levi, e le proprie esperienze in America dove la coppia era fuggita in cerca di lavoro dopo le leggi razziali del 1938. Corredato da un’introduzione storiografica e da un’appendice di lettere inedite, emerge il percorso di un intellettuale ebreo nell’Italia fascista in continuo contatto con personalita della cultura italiana ed europea, il suo ruolo di mediazione con il mondo letterario spagnolo contemporaneo, il trauma delle leggi razziali, le sfide dell’esilio e le reti della diaspora ebraica e non negli Stati Uniti. Nei Ricordi di guerra, anch’essi pubblicati per la prima volta, Flora riprende il racconto dopo la prematura morte del marito, raccontando le proprie vicende e quelle della sua famiglia nell’Europa in guerra. Espressione della letteratura femminile d’esilio, emerge la voce di una madre separata dai figli e di un’intellettuale ebrea italiana alle prese con le sfide dell’esilio e la memoria.

The purpose of the author is to find the main motive why Auerbach chose to use the non-disciplinary term “European philologists” and what he meant by that. I argue that Auerbach’s consciousness of Europe as a historical entity was formed in the 1920s, but his exile turned this consciousness into a position. A basic question is about the symbolic geography of European culture in the works of Auerbach. The synonymous use of Europe and Abendland distinctly reveals Auerbach’s dual, unifying/divisive understanding of the identity and symbolic geography of European culture. If we accept the opinion that the European has been represented for centuries by the Romance, then the tasks of Romance philology as European philology will become clearer and the cultural geography of Europe narrower. The cultural-historical identification of Europe and Abendland after the Second World War solidified the anyway existing division of Europe in to two blocs. Literary history and philology divided Europe in the way this was done by the relevant political doctrines too. The human sciences also contributed significantly to the creation of value-attitudes, and an investigation of the former from this perspective gives us additional reason to assume that the agreement on the division of Europe after the Allied victory was not based solely on strategic interests., Цель работы – исследовать значение внедисциплинарного определения „европейская филология” в понимании Эриха Ауэрбаха. Автор приходит к выводу, что осознание Европы как исторической целостности формируется у Ауэрбаха в 1920-е, но эмиграция превращает эту весьма общую идею в четкую позицию. Существенный вопрос: какова символическая география „европейской филологии” Ауэрбаха. Синонимия Европы и Абендлянда свидетельствует о том, что для Ауэрбаха Европа – это Западная Европа, единство романских и германских языков и литератур. Социальной значимостью гуманитарных научных дисциплин является формирование ценностей, которые способны превращаться в пред/убеждения и руководить поведением. Разделение Европы на две части в конце Второй мировой войны – результат прежде всего военных и политических мотивов, но, вместе с тем, и сформировавшихся убеждений и ценностей. Филология также может разделять Европу соответствующим образом., Мета роботи – дослідити значення позадисциплінарного визначення „європейська філологія” в розумінні Еріха Ауербаха. Автор приходить до висновку, що усвідомлення Європи як історичної цілісності формується в Ауербаха у 1920-ті, але еміграція перетворює цю досить загальну ідею в чітку позицію. Істотне питання: яка символічна географія „європейської філології” Ауербаха. Синонімія Європи і Абендлянду свідчить про те, що для Ауербаха Європа – це Західна Європа, єдність романських і германських мов і літератур. Соціальною значущістю гуманітарних наукових дисциплін є формування цінностей, які здатні перетворюватися в переконання (/упередження) і керувати поведінкою. Поділ Європи на дві частини в кінці Другої світової війни – результат, передусім, військових і політичних мотивів, але, водночас, і сформованих переконань і цінностей. Філологія також може розділяти Європу відповідно.

This thesis realizes an investigation as much philological as linguistics of the marks of romance languages present in the philosophical charter That nothing is known, written in the 16th century by the Spanish scientist Francisco Sanches, called the sceptic. We searched to know the life and the work of the scientist, especially with reference to the period of scripture of this work; we effectuated the establishment of the research corpus since the textual criticism; we verified the textual signals that indicate marks of the ibero-romance; finally, we realized a commented analysis of samples collected in the corpus. The corpus selected for this research is from an edition fac-similar of Quod Nihil Scitur available by Biblioteca Nacional Digital de Portugal (denominated QNSS-BNP). For the theoretical framework of this research, the following authors were consulted: Coutinho (1981), Sousa da Silveira (1960), Nascentes (1954), Silveira Bueno (1946), Silva Neto (2004), Coseriu (1978) Andersen (1973), Cardoso (1993), Spina (1994), Ilari (2018), Leite (2009), Miranda Poza (2019), Vidos (2001), Bassetto (2005), Elia (2004), Spaggiari and Perugi (2004), Faraco (2006), Mattos e Silva (2008), Garcia (2008), Auroux (2009), Massini-Cagliari (2007), Garcia and Ottoni de Castro (2010), Câmara Júnior (2011a), Teyssier (2014), Banza and Gonçalves (2018) and Bossaglia (2019), and others. Others editions of Quod Nihil Scitur in romance languages were appreciate: Sanches/Sanchez (1923, 1977, 1984, 1988, 1991, 1999, 2006). Firstly, it was realized a literature review about Historical Linguistics, Romance Philology and Ecdotic, respective theoretical objects and central concepts, as well as a brief historiographical review of the life and work from Spanish thinker. Then, the corpus was established with a critical appreciation of the 54 forms mentioned in the errata sic corrige. Two methods were adopted: the comparative method, of Historical Linguistics/Romance Philology and the textual criticism method, of the Ecdotic. And, finally, 50 lessons were extracted of the work. The analysis followed the next stapes: fac-similar fragment of the version QNSSBNP; lesson with paleographical transcription; listing in footnotes with meaning obtained from bilingual dictionaries; lesson transcribed of translation made by Mellizo (1977); lesson transcribed of translation made by Vasconcelos (1991); translation direct of the latin and respective comments about the marks of the romance languages found. The results indicate that: the text of Sanches is written in a latim medievo-bárbaro; there is a presence of romance/iberian substrate, indicated by the lexicon and syntactic order the words; the syntactic order reflect more romance languages that the latin language; there is an excessive use of the prepositions that suggest analitism; in the text were found metaplasms from vulgar latin; there are abbreviations and graphic accentuation similar with others romance manuscripts (Grammatica latina, by Arauio, 1627, medieval songs, indicated by Massini-Cagliari, 2007, Os Lusíadas, by Camões, 1572, etc.); the diacritics in the text suggest a didactical written to pronunciation; the text has a didactic tone/style to reading. RESUMEN Esta tesis efectúa una investigación filológica y lingüística sobre las marcas de lenguas románicas presentes en la carta filosófica Quod Nihil Scitur, escrita en el siglo XVI por el científico español Francisco Sanches, llamado el escéptico. Buscamos conocer la vida y obra del científico, en particular en lo que se refiere a la etapa de redacción de este trabajo; establecemos el corpus de investigación a partir de la crítica textual; verificamos los signos textuales que indican marcas de ibero-romance; y finalmente, realizamos un análisis comentado de las muestras tomadas del corpus. El corpus elegido para la investigación procede de una edición facsímil de Quod Nihil Scitur puesta a disposición por la Biblioteca Nacional Digital de Portugal (designada QNSS-BNP). Para el marco teórico de la investigación, se consultó a los siguientes autores: Coutinho (1981), Sousa da Silveira (1960), Nascentes (1954), Silveira Bueno (1946), Silva Neto (2004), Coseriu (1978) Andersen (1973), Cardoso (1993) , Spina (1994), Ilari (2018), Leite (2009), Miranda Poza (2019), Vidos (2001), Bassetto (2005), Elia (2004), Spaggiari y Perugi (2004), Faraco (2006), Mattos e Silva (2008), Garcia (2008), Auroux (2009), Massini-Cagliari (2007), Garcia y Ottoni de Castro (2010), Câmara Júnior (2011a), Teyssier (2014), Banza y Gonçalves (2018) y Bossaglia (2019), entre otros. Otras ediciones de Que nada se sabe en lenguas románicas fueron apreciadas: Sanches/Sanchez (1923, 1977, 1984, 1988, 1991, 1999, 2006). En primer lugar, se realizó una revisión de la literatura sobre Lingüística Histórica, Filología Románica y Ecdótica, objetos teóricos respectivos y conceptos centrales, así como una breve revisión historiográfica de la vida y obra del pensador español. El corpus se estableció entonces con una apreciación crítica de las 54 formas mencionadas en la errata sic corrige. Se adoptaron dos métodos: histórico-comparativo, de la lingüística histórica/filología románica y crítico, de la Ecdótica. Y finalmente, se extrajeron 50 lecciones del trabajo. Los análisis siguieron los siguientes pasos: fragmento facsímil de la versión QNSS-BNP; lección con transcripción paleográfica; listado de notas a pie de página con definiciones recogidas de diccionarios bilingües; lección de traducción transcrita por Mellizo (1977); lección de traducción transcrita por Vasconcelos (1991); traducción directa del latín y comentarios respectivos sobre las marcas identificadas del idioma románico. Los resultados indican que: El texto de Sanches está escrito en un latín medievo-bárbaro; hay presencia de un sustrato románico/ibérico en el texto, indicado por el léxico y el orden sintáctico de las palabras; el orden sintáctico refleja más las lenguas románicas que el latín; hay un uso excesivo de preposiciones que sugieren analítica; en el texto encontramos metaplasmos del latín vulgar; hay abreviaturas y acentuaciones gráficas similares a otras fuentes románicas (Grammatica latina, de Arauio, 1627, canciones medievales, señaladas por Massini-Cagliari, 2007, Os Lusíadas, de Camões, 1572, etc.); los diacríticos en el texto sugieren una escritura didáctica para la pronunciación; el texto tiene un tono/estilo didáctico para la lectura. Nenhuma Esta tese realiza uma investigação tanto filológica quanto linguística das marcas de línguas românicas presentes na carta filosófica Quod Nihil Scitur, escrita no século XVI pelo cientista espanhol Francisco Sanches, vulgo o céptico. Buscamos conhecer a vida e obra do cientista, especialmente no que se refere ao período de escritura dessa obra; efetuamos o estabelecimento do corpus de pesquisa a partir de uma crítica textual; verificamos os sinais textuais que indiquem marcas do ibero-romance; por fim, realizamos uma análise comentada de amostras colhidas do corpus. O corpus eleito para a pesquisa é oriundo de uma edição fac-similada de Quod Nihil Scitur disponibilizada pela Biblioteca Nacional Digital de Portugal (denominada QNSS-BNP). Para o referencial teórico da pesquisa, os seguintes autores foram consultados: Coutinho (1981), Sousa da Silveira (1960), Nascentes (1954), Silveira Bueno (1946), Silva Neto (2004), Coseriu (1978) Andersen (1973), Cardoso (1993) , Spina (1994), Ilari (2018), Leite (2009), Miranda Poza (2019), Vidos (2001), Bassetto (2005), Elia (2004), Spaggiari e Perugi (2004), Faraco (2006), Mattos e Silva (2008), Garcia (2008), Auroux (2009), Massini-Cagliari (2007), Garcia e Ottoni de Castro (2010), Câmara Júnior (2011a), Teyssier (2014), Banza e Gonçalves (2018) e Bossaglia (2019), entre outros. Outras edições de Que nada se sabe em línguas românicas foram apreciadas: Sanches/Sanchez (1923, 1977, 1984, 1988, 1991, 1999, 2006). Primeiramente, foi realizada uma revisão de literatura sobre Linguística Histórica, Filologia Românica e Ecdótica, respectivos objetos teóricos e conceitos centrais, bem como uma breve revisão historiográfica da vida e obra do pensador espanhol. Depois, o corpus foi estabelecido com apreciação crítica das 54 formas mencionadas na errata sic corrige. Dois métodos foram adotados: histórico-comparativo, da Linguística Histórica/Filologia Românica e crítico, da Ecdótica. E, finalmente, 50 lições foram extraídas da obra. As análises seguiram os seguintes passos: fragmento fac-símile da versão QNSS-BNP; lição com transcrição paleográfica; listagem em notas de rodapé com acepções colhidas de dicionários bilíngues; lição transcrita de tradução feita por Mellizo (1977); lição transcrita de tradução feita por Vasconcelos (1991); tradução direta do latim e respectivos comentários acerca das marcas de língua românica identificadas. Os resultados indicam que: o texto de Sanches está escrito em um latim medievo-bárbaro; há a presença de substrato românico/ibérico no texto, indicada pelo léxico e ordenação sintática das palavras; a ordem sintática reflete mais as línguas românicas que a latina; há o uso excessivo de preposições que sugerem analitismo; no texto encontramos metaplasmos do latim vulgar; há abreviações e acentuação gráfica similares a outras fontes românicas (Grammatica latina, de Arauio, 1627, cantigas medievais, apontadas por Massini-Cagliari, 2007, Os Lusíadas, de Camões, 1572, etc.); os diacríticos no texto sugerem uma escrita didática para pronunciação; o texto tem um tom/estilo didático para a leitura.

Iacopone da Todi’s “laudario” is a fundamental text of Medieval Italian literature. Despite its importance, this text hasn’t been published on the basis of objective and systematic criteria so far. The critical edition by F. Ageno (1953) improved Bonaccorsi’s incunable of 1490 (which had been the reference text until then) by means of the so-called “Umbrian laudari” (mss. London, British Library, Additional 16567 = L; Chantilly, Musée Condé, XIV.G.2 = Ch). However, that edition is still too much in Bonaccorsi’s debt as for various "loci" and the Perugian linguistic surface. The lack of explanation of the editorial criteria and the absence of critical apparatus are other evident limits of that edition. G. Contini criticised Ageno’s idea, according to which the entire tradition of the “laudario” stemmed from the so-called “Umbrian archetype”. Contini discovered, in the “Laudario urbinate” (ms. Roma, Biblioteca Nazionale Centrale, V.E. 849 = Urb), a witness independent of the “Umbrian archetype”; afterwards, R. Bettarini’s researches confirmed Contini’s discovery. F. Mancini’s edition (1974) tried to exploit the non-Umbrian sectors of the tradition; it got significant results, but it has many faults. Firstly, as for the “constitutio textus”, there is no precise methodological criterion. Secondly, Mancini doesn’t propose any analysis of Iacopone’s metric. Furthermore, while he believes it’s possible to reconstruct the “original” linguistic surface, his justifications are not convincing. The necessity of a critical edition based upon strong philological criteria and a careful “recensio” is thus clear. L. Leonardi has emphasised that need several times and he has planned and refined a methodological and operational approach. This thesis provides the critical edition of a portion of the “laudario” (eight texts) according to those criteria. It is based on a selection of witnesses, which were transcribed by a team coordinated by Leonardi. That selection represents the four families of Iacopone’s “laudario”, that is the Umbrian, the Tuscan-umbrian, the Venetian and the Tuscan family. In the critical edition, the Umbrian group is taken as reference point, as it preserves a consistent and homogeneous text. Moreover, the text of the Umbrian family is preserved in ancient manuscrits and it is presumably close to the “original” as for the linguistic surface. Alongside that criterion, special attention has been paied to non-Umbrian readings. The thesis is divided into two main sections, in addition to a foreword and the bibliography. Within the first section, chapter I describes the state-of-the-art and defines the methodological approach. Chapter II, first of all, clarifies the goals of the edition; secondly, it offers some notes upon the corpus of edited texts, the manuscripts chart, and a paragraph devoted to the surface manuscript (L). Chapter III is dedicated to the editorial criteria and the critical apparatus. The first paragraph deepens the editorial criteria. The second one firstly contains a retrospective on critical apparatus in previous editions of Iacopone; secondly, it justifies the tripartite structure of the apparatus in the current edition. Chapter IV takes stock of the new discoveries of this edition. The first part underlines the data which allow us to confirm the four families of Iacopone’s “laudario”. The second part points out the textual improvements made by this edition. Chapter V offers some remarks upon Iacopone’s metric by relying on data provided by the edited texts. The second section of the thesis presents the critical edition of the texts with introduction, critical notes and philological commentaries., Le “laudario” de Iacopone da Todi est un texte fondamental de la littérature italienne du Moyen Âge. En dépit de son importance, il n’a pas encore fait l’objet d’une édition fondée sur critères philologiques objectifs et systématiques. En effet, si l’édition de F. Ageno (1953) dépasse l’incunable de Bonaccorsi de 1490 (jusqu’alors le texte de référence) en recourant aux “laudari” soi-disant “ombriens” (mss. London, British Library, Additional 16567 = L ; Chantilly, Musée Condé, XIV.G.2 = Ch), elle doit encore trop à la “princeps”, à laquelle elle se remet en ce qui concerne plusieurs “loci” et dont elle hérite la forte patine linguistique pérugine. Le manque de justification des choix éditoriaux et l’absence de tout apparat critique constituent d’autres limites évidentes de cette édition. L’idée d’Ageno selon laquelle le soi-disant “archétype ombrien” devait être à l’origine de toute la tradition du “laudario”, a été critiquée par G. Contini, qui identifie dans le “Laudario urbinate” (ms. Roma, Biblioteca Nazionale Centrale, V.E. 849 = Urb) un témoin indépendant de cet “archétype ombrien”; son intuition a ensuite été confirmée par R. Bettarini. L’édition de F. Mancini (1974) essaie d’exploiter les secteurs non-ombriens de la tradition et aboutit à des résultats significatifs, mais présente beaucoup de défauts. D’abord, il lui manque un critère méthodologique précis pour la “constitutio textus” ; ensuite, Mancini ne propose aucune analyse de la métrique de Iacopone; par ailleurs, l’éditeur croit pouvoir restituer la patine linguistique “originale”, mais ses arguments ne sont pas convaincants. La nécessité de fournir un texte critique fondé sur des critères philologiques solides et sur une “recensio” soignée est évidente et a été soulignée plusieurs fois par L. Leonardi, qui a aussi déterminé et affiné une ligne méthodologique et opérative dans cet objectif. La présente thèse fournit l’édition d’une partie du “laudario” (huit pièces) selon ces critères, à partir d’une vingtaine de témoins sélectionnés, transcrits par une équipe sous la direction de Leonardi et représentant les quatre familles de la tradition du “laudario” de Iacopone : ombrienne, toscane-ombrienne, vénitienne et toscane. Le critère d’édition suivi a été de prendre comme point de repère le groupe ombrien, porteur d’un texte cohérent, homogène, dont témoignent des manuscrits anciens et linguistiquement proches de l’original présumé. Ce critère a été pondéré grâce à la comparaison avec les variantes des manuscrits non ombriens. La thèse se compose de deux sections précédées d’un avant-propos et suivies de la bibliographie. Dans la première section, le chapitre I est dédié à l’établissement de l’état de la question et à la définition de la ligne méthodologique suivie. Le chapitre II, d’abord, propose les objectifs de l’édition ; ensuite, présente quelques notes sur le corpus des textes publiés, la table des manuscrits utilisés et un paragraphe dédié au manuscrit de surface (L). Le chapitre III est dédié aux critères éditoriaux et à la question de l’apparat critique. Le premier paragraphe approfondit les critères d’édition ; le second présente, d’abord, une rétrospective sur les apparats critiques établis dans les éditions précédentes de Iacopone ; il justifie, ensuite, la tripartition de l’apparat proposée dans cette édition. Le chapitre IV dresse un bilan des nouvelles découvertes qu’on peut déduire des données mises à disposition par l’édition critique. Sa première partie souligne les données qui permettent de confirmer la structure de la tradition ; sa deuxième partie détaille les améliorations apportées par cette édition au texte de Iacopone. Le chapitre V propose quelques remarques sur la métrique de Iacopone, à partir des données tirées des éditions. La deuxième section de la thèse, enfin, présente les textes critiques avec introduction, notes ecdotiques et commentaires philologiques.

Hombre de amplia erudición, sus intereses fueron más allá de las hablas vivas, de la dialectología hispánica e iberorromance, que presenta de manera divulgativa en su Dialectología española (Madrid: Gredos, 1960), libro publicado 'nel mezzo del cammin' de una vida fecunda. Ofrezco en primer lugar unos trazos biográficos, y en segundo lugar, una relación de obras suyas relacionadas con la dialectología. Prescindo de su vertiente más propiamente filológica, así como de la faceta de creación literaria. Cierra mi retrato una breve glosa.

Hermann Suchier, since the year 1876 Professor of Romance Philology at the University of Halle, was one of the most prominent scholars of his generation. Since he preserved all his correspondence, we are able to study his various international written relationships with his French colleagues, including Gaston Paris and Paul Meyer. However, a temporary disagreement between Suchier with Paris and Meyer did arise. This conflict was due to Suchier supporting the work of Wendelin Foerster, whose edition of Aiol et Mirabel was severely criticized by Paris and Meyer. Subsequently, Suchier once again changed support back to Paris and Meyer and then was invited to publish in their house journal, Romania, and additionally to contribute two editions in ancient French to the Société des Anciens Textes Français which had also be founded by Paris and Meyer. In this way Suchier became one of the most important intermediaries between German and French Philology in the years following the Franco-German war and the outbreak of World War I.

Neste artigo lembramos a contribución á lingüística galega de Dámaso Alonso (1898-1990) nas décadas centrais do século XX. Tras anotar algúns datos biográficos sobre el e contextualizar os seus traballos de lingüista dentro da Romanística, nos cales ocupan un lugar destacado os dedicados ó galego, damos a coñecer oito cartas dirixidas a Ramón Otero Pedrayo entre 1943 e 1946. Nelas, Dámaso Alonso solicítalle ó daquela grande patriarca das letras galegas datos de tipo lingüístico; pero a correspondencia revela tamén as súas reflexións sobre o estudo do galego, o seu método de traballo e a súa relación con Galicia. This paper deals with the biography of Dámaso Alonso (1898-1990) and, more specifically, with his contribution to Galician linguistics by the middle of the twentieth century. After having provided some biographical data and contextualized his work as a linguist within the field of Romance Philology, where his studies devoted to Galician had a prominent place, our main purpose has been to analyze the contents of a eight letters with Ramón Otero Pedrayo between 1943 and 1946. The examined correspondence shows the kind of linguistic data requested from the so-called “patriarch of the Galician language” but it also reveals his thoughts on the study of Galician, his working methods, and his relationship with Galicia.

The author proposes a philological investigation of the complex Medieval tradition of manuscripts written in Romance languages, which aims to bear in mind the methods of stratigraphic archaeology and anthropology, following the multidisciplinary approaches wished for by contemporary Humanities. A few sparks are offered in order to better understand the tradition of Occitan troubadours, pointing out in particular some questions related to problems such as authorship, identification, and the understanding of the nature of first written sources. Moreover, the author points out that some undisputed philological acquisitions are mere critical hypotheses that bibliography has transmitted, ratified and actually ceased to discuss.