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The focus of this study lies in the editorial distortions present in the scientific editions of Lermontov’s works concerning the poem “Valerik” and the necessity of reconstructing a definitive text in accordance with the author’s intent. The objective of the research is to identify semantic inaccuracies in the publications of “Valerik” and to elucidate the choices of variants that are closest to the authentic text. The materials for this study include Lermontov's rough autograph, a manuscript of the poem belonging to Yu. F. Samarin, the first publication of the poem in the 1843 almanac “Morning Dawn,” the edition of Lermontov’s works edited by P. A. Efremov, and scholarly editions from the 20th and 21st centuries. A comprehensive set of scientific methods and approaches has been employed to address the research question: source study methodology, textual criticism, logical-semantic analysis, and comparative analysis of the work, allowing for a connection between the history of the text and its interpretation. The comparison of the draft, manuscript, first, and subsequent publications of the poem revealed discrepancies related to noncompliance with the author’s punctuation, substitutions of certain words, including toponyms, omissions of phrases present in the draft, and inaccurate reproductions of the author’s variants. The necessity of liberating the text from editorial corrections that distort the semantic accents of Lermontov’s poem is argued.

On five occasions in Pauline literature, the author claims to write in their own hand. In three of the five instances, the autograph is reserved for the final greeting and the greeting alone. In Galatians 6.11 and Philemon 19, however, Paul writes more than the letter's greeting in his own hand, as the comment about his autograph appears well before the closing salutations. This article engages one of these texts, Philemon, and argues that it was written entirely in Paul's hand. The letter was a Pauline holograph. To make this argument, the article first assesses the 'cheirographic rhetoric' of Philemon 19. Paul alludes to a type of documentary writing, the cheirograph, that recorded various sorts of financial proceedings. Paul's autographic guarantee recalls validation statements that were integral to this genre of text. Comparanda from the non-literary papyri show that when an author of a cheirograph called specific attention to their own handwriting, the entire document was customarily written in their own hand. The article then turns to the personal nature of Philemon and the abundance of second-person singular forms, arguing that there was a strong preference that personal letters like Philemon be handwritten in Paul's context. Taken together, these two arguments demonstrate that Paul's short letter to Philemon was more likely to be handwritten than dictated. [ABSTRACT FROM AUTHOR]

During his lifetime, the founder of Opus Dei made two changes to his names: he united the first two into one —Josemaría— and added the toponymic “de Balaguer” to his first surname. This study analyzes the reasons for these changes and the ways in which the founder himself expressed his name.

There are many studies on technology-supported learning based on cooperative learning in the literature. However, little is known about Autograph-assisted think pair share learning in supporting students' problem-solving abilities for learning in today's technological era. This study aims to examine and analyze the differences in the improvement of students' problem-solving abilities who participate in think pair share learning assisted by Autograph (Auto-TPS) and conventional learning assisted by Autograph (Auto-CL). This study uses quantitative methods with the design used in this study is a nonequivalent control group design involving two groups of students. The sample of this study was 70 students of class IX SMP Al Ulum Medan, Indonesia. Questions to test students' mathematical problem-solving skills found five items. Data analysis includes data processing of test results, namely normality test, homogeneity test, hypothesis testing, and average difference test in the two groups using t-test. The conclusion of this study is that students who study with Auto-TPS get a higher increase in problem-solving abilities compared to students who learn with Auto-CL, with the explanation that the group of students who study Auto-TPS is very good when compared to the group student learning Auto-CL. Research findings related to the application of Auto-TPS can be an alternative learning model in the current technology-era learning situation. [ABSTRACT FROM AUTHOR]

The article deals with littlestudied issues related to the signs of ownership on the books from Russian personal libraries in the Turkestan region (1967–1917) that were found in the National Library of Uzbekistan named after A. Navoi. The purpose of the article: to determine the character of Russian personal libraries of the Turkestan region in the collection of the National library of Uzbekistan named after A. Navoi and the signs of ownership on their books. The relevance of the research is due to the need to fill in the historiographical gap in the study of Russian personal libraries in Turkestan region. The first results of the work related to identification and attribution of the book signs on some books from the personal libraries of N. V. Dmitrovskiy, N. F. Petrovsky, A. K. Gaines, D. I. Mushketov, P. I. Khomutov, N. A. Burov, K. A. Timayev. The paper presents information about the owners of personal libraries. The author analyzes the owner’s inscriptions, which show that these book collections were formed not only for practical purposes, but also for leisure. The article draws the attention of researchers to the study of privately owned signs as another page in the history of replenishment of the book collections of the National Library of Uzbekistan named after. A. Navoi. Identification and attribution of book signs allowed us to understand better the process related to the movement of the books from the personal libraries of Russian aristocrats, officials and scientists to the Turkestan Public Library. The exemplary analysis of the books allowed us to conclude that bibliophiles of the Turkestan region preferred to use stamps more often, among which there are also “non-special” ones, or to put handwritten owner’s inscriptions on copies.

The article is devoted to the history of the poem “Spring Fun” (“Veshnee vesel’e”), which is an incomplete transcription of the first song from the poem of the Lithuanian poet Kristijonas Donelaitis (1714–1780) “The Seasons” (“Metai”), made by Vyach. Ivanov. The translation was made for the unpublished “Collection of Lithuanian Literature” (prepared at the “Parus” publishing house in 1915–1917), edited by Y. Baltrushaitis and M. Gorky. At the same time, Baltrushaitis acted as an editor-compiler and translator of a collection of Lithuanian folklore for M. and S. Sabashnikov’s publishing house. This project was also not implemented. The correspondence between Vyach. Ivanov, Y. Baltrushaitis and M. Sabashnikov allows to reconstruct the history of translation of the poem. The article provides information about the first publications of separate fragments of the translation (by J. Jasinyavicius in 1963 and T. Venclova in 1978), based on unauthorized typewriting from the Department of Manuscripts of the Institute of Lithuanian Literature and Folklore (Vilnius). The appendix presents Ivanov’s translation according to an autograph from the Manuscript Department of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences. The work is mainly based on archival materials from St. Petersburg, Moscow, Rome, Vilnius.

The article is the first to examine the textual peculiarities of the manuscripts of Leo Tolstoy’s short story “Three Elders,” published in 1886 in two different editions. The study of the autograph, two copies and proofreading of the story allows to get the notion of all stages of the author’s work as well as creating the pattern of alterations which appeared due to both unintentional mistakes and deliberate interference in the text from copyist V.G. Chertkov, who edited a new publication of the short story “Three Elders” in magazine “Niva” (1886, no. 13). The author of the article compares the two first printed texts of “Three Elders” and proves the choice as the main source the text published by S.A. Tolstaya in the edition: Count L.N. Tolstoy’s Works. Part 12. Late Works. M., 1886. The short story “Three Elders” was included into vol. 13 of The Complete Works of L.N. Tolstoy in 100 vols.

The article examines in detail the correspondence between L.N. Tolstoy and A.I. Herzen by analysis of all publications, in which this correspondence appeared, clarification of the errors that were made when commenting on the letters, and search for a new interpretation of some places of Tolstoy’s and Herzen’s epistolary heritage. The author of the article finds the true name of the French revolutionary chemist Tessier du Motay, who was a close friend of Herzen and was with him in London during Tolstoy’s stay there. The article offers several options for reading the final phrase of Tolstoy’s last letter addressed to a London emigrant, and provides a number of arguments refuting the previous reading. The author of the article proves that the correspondence between Tolstoy and Herzen to this day has a number of “difficult” places, commenting on which can give new information not only about their personal and literary relationships, but also about the realities of that time, the circle of communication between the two thinkers and the historical and social context in which the correspondents were immersed.

The recently discovered V.V. Mayakovsky’s notebook with an autographed fragment of the poem “Vladimir Ilyich Lenin” is being published for the first time. This is approximately half of the first part and the whole second part of the poem, which restores the complete draft manuscript of the work with variants to the printed text, rhyme gaps and lines that were not included in it. The text is recorded in the form of a dynamic transcription. The introductory article preceding the publication deals with the place of Mayakovsky’s notebooks in the poet’s creative heritage, textual work on them and a new stage of their study, including the publication of notebooks in the Complete Collection of Mayakovsky’s works, which is currently being prepared at the A.M. Gorky Institute of World Literature of the Russian Academy of Sciences. It has also been proven that the text of the poem contained in this notebook can be placed between the texts of notebooks no. 23 and no. 24 pertaining to the same period and currently kept in V.V. Mayakovsky State Museum collection. Comparing these notebooks that contain the autographs of the first and the third parts of the poem, this paper analyses characteristic features of the poet’s creative work, confirms the authenticity of the published notebook, and substantiates its dating. In addition, the article presents the history of this notebook, which was gifted by Mayakovsky to the children’s writer N. Kalma in 1924.

Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The current article examines autograph manuscripts of three little-known Sufi doctrinal works of the eighteenth-century Central Asian Sufi, Ṭāhir Īshān, a native of Khwarazm. Ṭāhir Īshān is better known as the author of the eighteenth-century Naqshbandī hagiographical compendium Tadhkira-yi Ṭāhir Īshān , which was completed in 1160/1747. The works in question, entitled Ḥujjat al-sālikīn va rāḥat al-ṭālibīn , Rumūz al-kalām , and Risāla-yi sayr ilā Llāh , survived in their autograph copies in a single manuscript codex preserved at the Beruni Institute of Oriental Studies in Tashkent (Uzbekistan), under the inventory number of MS 5121. Given that the Rumūz al-kalām and Risāla-yi sayr ilā Llāh only survived in their autograph copies, MS 5121 serves as a crucial gateway to these doctrinal texts of Ṭāhir Īshān. [ABSTRACT FROM AUTHOR]

A detailed analysis of four concordant movements, taken from five autograph sonatas for violin and basso continuo by Johann Georg Pisendel, allows us to identify some compositional and reworking methods of the German musician. The alternative versions recorded in these manuscripts seem to derive frequently from performing and improvisatory practice.

This article traces the cultural history of a portrait format popularised through the global expansion of lithographic printing. This format combined a traditional portrait vignette with a lithographic facsimile of the sitter's signature. Such 'facsimile-autographed' portraits evoked the notion that sitters had physically signed their own likenesses – testifying not only to the veracity of the depiction, but displaying an indexical trace of embodied agency. The article argues that this format afforded a particularly cogent way to conceptualise and communicate ideas about selfhood and society in liberal, romantic, and nationalist political programmes. Such lithographic portraits did not simply 'encode' or 'reflect' these new ideas, however, but were part of a technological revolution that decentralised the production of mass media and thereby reshaped the societies in which such novel ideas flourished. By connecting the various expressions of public selfhood found in facsimile-autographed portraits to the way lithography expanded audiences and reshaped modes of conceptualising public and private life over the course of the nineteenth century, this article argues that established scholarly concepts like the 'romantic self' or 'liberal self' might be reconsidered through a new, technomaterial heuristic: the 'lithographic self'. [ABSTRACT FROM AUTHOR]

We do not possess, nor are we ever likely to possess, any autograph of a Greek or Latin literary text from antiquity. We do not always apprise our students of this fact. This article seeks to explain why we possess only copies of the texts, often adapted for one reason or another and at many stages removed from the autographs. It also explains why certain kinds of originals cannot by their nature be copied or adapted, and are lost to us as soon as they are created. Non-literary texts too, written on durable materials other than papyri and parchment, do not, for various reasons, always constitute autographs, or autographs that we and our students can have ready access to. [ABSTRACT FROM AUTHOR]

The publication is a reproduction of twenty book inscripts by Yu.M. Lotman from the library of B.F. Egorov. These inscriptions on books, magazines and reprints of articles form a kind of dialogical form, definitely reminiscent of epistolary communication. The published inscripts are valuable evidence of comradely and collegiate communication between two remarkable scientists, who were connected by decades of productive cooperation. The first inscript is dated 1952, and the last one discovered is 1992. For the first time, the article presents the reproduction of Lotman’s drawing, which depicts the entire family of the scientist. The inscriptions are often built on a language game, they are playful and spontaneous, but still the basis of dedicatory inscriptions are those in which the enduring importance of friendship, collegiality and morality is emphasized. The scripts are printed from autographs kept in B.F. Egorov’s home library in St. Petersburg.

The essay examines the characteristics of a copy of Pascoli's poem Iugurtha, printed in Amsterdam in 1897, and belonging to Luigi Majno, socialist politician from Milan: the copy witnesses an autograph correction by Pascoli in v. 34, which solves a metric-prosodic problem documented from the earliest manuscript drafts.

The results of a historical and cultural commentary on a previously unknown inscription by S. A. Yesenin, made by him in 1921 on a piece of paper, which was subsequently pasted into the book “Triptych” (Berlin: Publishing House “Scythians”, 1920), are presented. The scientific study of writers' dedicatory inscriptions as a separate area in domestic literary criticism is currently at the stage of its formation, which determines the relevance of the proposed study. It is proved that the addressee of Yesenin's dedication inscription is his elder friend and mentor in poetry Nikolai Alekseevich Klyuev (1884—1937) and it was made by the poet in December 1921 simultaneously with a short letter also addressed to Klyuev after a twoyear break in their creative communication. It is pointed out that Klyuev’s nickname “deacon Kolya” in Yesenin's script does not have negative connotations and serves as a playful, gentle definition of Klyuev’s mentoring role in Yesenin's poetic fate. An analysis of the structural and semantic connections of Yesenin's texts of the dedicatory inscription and letter makes it possible to establish that the inscription contains an implicit personal message for the renewal of former friendly relations between poets who have drifted away from each other due to creative differences. On the basis of Klyuev's reply message from Vytegra (January 28, 1922), it was established that Yesenin, at the end of December 1921, along with a letter, gave him his new books (including the “Triptych” containing poems of 1917) through Nikolai Ilyich Arkhipov (1887—1967) (a Vytegorsk acquaintance of Klyuev), who came to Moscow as a delegate to the IX All-Russian Congress of Soviets (December 23—28, 1921). It is put forward and substantiated that Yesenin, not being able to make a dedication to Klyuev on the book, sent an autographed sheet with Arkhipov for its subsequent pasting into the book. The authors of the article do not rule out that the pasting of Yesenin's inscription on the title page of the Berlin edition may have a later character. However, even so, it has an undoubted symbolic meaning, appealing to the Scythian philosophy, which united the poets in 1915—1917, being one of the signs of their spiritual kinship, the feeling of which Yesenin will carry through his entire creative life.

In m. 23 of Chopin's Prelude in E Minor, op. 28, no. 4, the music comes to a halt on what is spelled as a dominant 4/2 chord. Yet the Bb in the bass "resolves" upwards across the ensuing silence, prolonged by a fermata, to B in m. 24. This silence embodies a "negative action"-a gesture defined by an underlying intention not to carry out a premeditated act. Its notation calls upon the agency of the performer to subvert an implied harmony at the last possible moment. This enigmatic moment has its roots in a close relationship between the E-Minor and the A-Minor Prelude (op. 28. no. 2), as revealed by a sketch-leaf that holds the keys for deciphering Chopin's enigmatic spelling and recalls the troubled personal circumstances in the days surrounding the production of the sketch-leaf in Majorca. [ABSTRACT FROM AUTHOR]

The study is devoted to the publication of Vyacheslav Ivanov’s Russian translation for Lithuanian folk songs, made for unpublished collection of Lithuanian literature (“Sbornik litovskoj literatury,” Petrograd, [1915–1917]; ed. by Iu. Baltrushaitis, M. Gorky). Around the same time, Baltrushaitis was the editor-compiler and translator of the collection of Lithuanian folklore at the publishing house of M. Sabashnikov. This project was also not implemented. Ivanov’s work on Lithuanian translations is chronologically close to his participation in other collections of national literatures. In an extensive introductory article, the author reconsctucts the history of the creation of translations from Lithuanian, using the correspondence of V. Ivanov, Y. Baltrushaitis, M. Sabashnikov. The research shows that Ivanov’s work on translations for the Lithuanian collection stretched from the beginning of 1916 to the summer months, when the poet’s family lived in a village near Sochi. The preamble also contains information about the first publication of an incomplete collection of these translations, made in 1973 by Yu. Tumyalis using unauthorized typescript from the Manuscript Department of the Institute of Lithuanian Literature and Folklore (Vilnius). In this publication, the texts of Ivanov’s translations are given by autographs from the Manuscript Department of the Institute of Russian Literature (Pushkinskiy Dom) of RAS and the Roman Archive of Vyach. Ivanov. The textual comments describe the currently available sources of Ivanov’s translations, such as correspondence of Iu. Baltrushaitis, epistolary materials of others, Ivanov’s preparatory materials, manuscripts, translations from the archival storages of St. Petersburg, Moscow, Rome, Vilnius.

The article investigates insufficiently researched issues related to A. I. Klibanov’s book collection. The review of the detected autographs, exlibris and ownership stamps provides an opportunity to determine custodial history of books from both state libraries and personal collections, as well as to reveal unique information about relationships and cooperation between medieval scholars in the second half of the 20th century. The dedicatory inscriptions on the books differ in their length and originality; therefore, their significance as a source is directly proportional to how close a sender and a receiver were. Identification and description of bookplates and stamps in the study of the “Klibanovskaya” collection, still unknown from available reference books, will help in the study of other memorial book collections where such provenance marks can be found. The article also details the features of the formation of the foreign part of the A. I. Klibanov’s book collection. The foreign part of the memorial book collection, which is relatively small compared with the entire collection, can be divided into several thematic blocks: books with autographs donated by researchers dealing with similar scientific problems as the owner of the collection; multi-temporal books on historical and religious subjects, acquired by the owner; instances not related to the previous two blocks. The article identifies, systematizes and describes the inscriptions and ownership marks on the books of the collection of A. I. Klibanov.

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Copyright of Anuario Lope de Vega. Texto, Literatura, Cultura is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the changes introduced by the successive editors of Adam Mickiewicz's narrative poem to the text version published by the poet himself. The most important one is undoubtedly the addition of the poem considered the "epilogue" to Pan Tadeusz, allegedly lost by Mickiewicz. No less radical are the interventions consisting in supplementing the text with fragments from the autograph or with the poet's later additions made to the already printed text, as well as in corrective conjectures in instances regarded by the publisher as slips of the pen. The article compares the surviving authorial versions of the text, demonstrating that Mickiewicz himself treated his work as a continual process and tested new solutions on various occasions; however, there is no evidence that he intended to introduce them into the printed text. [ABSTRACT FROM AUTHOR]

Copyright of Year-Book of Lithuanian History / Lietuvos Istorijos Metraštis is the property of Lithuanian Institute of History and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)