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Not only literary students, but also well-known scholars share the idea that the reconstruction of a text is a routine job which leaves little room for creativity. After some 40 years during which I have edited or prepared the edition of works of Machiavelli ( Discorso intorno alla nostra lingua), Pietro Aretino ( Cortegiana) and Torquato Tasso ( Aminta), and 17 years devoted to the textual transmission and the text of Dante’s Commedia, I think that, except for the first phases of the job, textual editing requires almost constant critical thought and interpretation. I shall present a little series of examples, mostly from Dante’s Commedia, with cases ranging from decisions in the realm of accidentals to rather complicated choices among competing substantial readings and to the risky enterprise of emendation against all the witnesses of the work. While these examples can give an idea of the novelty of some solutions of my forthcoming edition (the introduction and Inferno will appear in the summer of 2021), in my view, they seem to confirm the opinion of the great classical philologist Giorgio Pasquali, for whom textual criticism isn’t mechanical; it is methodical.

Stemmatology studies aspects of textual criticism that use genealogical methods to analyse a set of copies of a text whose autograph has been lost. This handbook is the first to cover the entire field, encompassing both theoretical and practical aspects of traditional as well as modern digital methods and their history. As an art ( ars), stemmatology’s main goal is editing and thus presenting to the reader a historical text in the most satisfactory way. As a more abstract discipline ( scientia), it is interested in the general principles of how texts change in the process of being copied. Thirty eight experts from all of the fields involved have joined forces to write this handbook, whose eight chapters cover material aspects of text traditions, the genesis and methods of traditional "Lachmannian" textual criticism and the objections raised against it, as well as modern digital methods used in the field. The two concluding chapters take a closer look at how this approach towards texts and textual criticism has developed in some disciplines of textual scholarship and compare methods used in other fields that deal with "descent with modification". The handbook thus serves as an introduction to this interdisciplinary field. – First systematic coverage of stemmatology as a field within textual criticism. – Written by 38 experts in fields from various philologies to biology and information theory. – Illustrations and many practical examples from a wide range of disciplines are provided to render the content more accessible.

The paper addresses some features of a forthcoming critical edition of the _Commedia_. After a short presentation of the state of the art and of the possibilities offered by a neo-lachmannian approach, it lists and comments upon some new readings which can give some idea of the outcome of our research.

This paper is concerned with an aspects of Bédier’s legacy, possibly the least known in the English-speaking world. Bédier›s works of 1913 and 1928–29 did not just create a schism in the apparently peaceful context of textual scholarship: through his statements, critical editions produced with a single copy-text regained the academic prestige that Gaston Paris› adaptations of stemmatic method had taken away from them. Since then, Bédier›s objections have also forced meticulous textual critics to rethink their editorial practice: though retaining the method of shared errors, such scholars (often scarcely known outside Italy) have brought important progress in the methods of textual criticism.

Trovato Paolo. La tradizione manoscritta del Lai de l’ombre. RiԀes-sioni sulle tecniche d’edizione primonovecentesche. In: Romania, tome 131 n°523-524, 2013. pp. 338-380.

El presente artículo, firmado por un romanista que consagra buena parte de sus trabajos y de sus días a la Comedia de Dante, pasa respetuosa y —en lo posible— concienzuda revista a las ediciones críticas del Lazarillo de Tormes en el haber de Jaime Moll, Jesús Cañas, Félix Carrasco, Aldo Ruffinatto, Alberto Blecua y Francisco Rico, así como a las últimas apostillas de Arturo Rodríguez López-Abadía y Arturo Rodríguez López Vázquez, para proponer un nuevo estema —de cuño neolachmanniano— para la obra cumbre de la picaresca española. This paper, signed by a textual scholar who devotes much of his work and his days to the Comedy of Dante, reviews respectfully and —as far as possible— conscientiously the critical editions of Lazarillo de Tormes by Jaime Moll, Jesús Cañas, Félix Carrasco, Aldo Ruffinatto, Alberto Blecua and Francisco Rico, as well as the last contributions of Arturo Rodríguez López- Abadía and Arturo Rodríguez López Vázquez, in order to propose a new stemma for the masterpiece of the Spanish Picaresque.

Annali Online Lettere - Ferrara, VII 1 (2012)

Valutazione dei loci critici di un canto del Purgatorio nell'ambito del ristretto testimoniale di edizione: a livelli stemmatici molto alti i loci critici funzionano poco, e la collazione completa del testo consente di sistemare al meglio i testimoni rimasti al vaglio.

Il contributo fornisce il dettaglio quantitativo di tutte le opere citate negli esempi delle voci del primo "Vocabolario degli Accademici della Crusca" (1612), calcolato sui motori di ricerca resi disponibili on line dall'Accademia. I dati consentono di cogliere le esatte proporzioni, fino a questo momento soltanto intuite, tra i grandi autori trecenteschi e le altre auctoritates chiamate in causa a garantire la "farina" linguistica selezionata dagli accademici. Inoltre l'indagine permette di verificare quanta parte dell'esemplificazione è garantita anche da autori del Duecento e poi dei secoli successivi (XV e XVI), con divisioni anche tra prosa e poesia, per genere letterario, ecc.

La tradizione settentrionale della "Commedia" resta la pista più affascinante da seguire nella ricostruzione dell'archetipo, o degli archetipi di ciascuna cantica. Basando l'indagine sugli stemmata codicum di Petrocchi, di Sanguineti e del provvisorio di Trovato, lo studio linguistico dei codici antiquiores non può prescindere da R/RB (il Riccardiano 1005-Braidense AG XII 2) e Mad (il Madrileno 10057), codici unanimemente ritenuti apparentati e anzi "gemelli". L'analisi linguistica contenuta nell'articolo provvede a stabilire la provenienza bolognese del copista di RB, e la genovese del copista di Mad, nel quale tuttavia affiorano elementi del volgare emiliano, derivati evidentemente da un comune antigrafo. Inoltre, l'esame a confronto rileva come entrambi i testimoni siano latori di varianti, grafiche e di sostanza, linguisticamente fiorentine, e dunque riconducibili ai rami più alti dello stemma, nei pressi dell'archetipo della "Commedia".

Il contributo è un regesto dei codici dell'Antica Vulgata della "Commedia" dantesca, vale a dire del testimoniale usato da Giorgio Petrocchi per la sua epocale edizione del poema pubblicata negli anni '60.

Segnalazione e analisi linguistica di scritture esposte presenti in insediamenti francescani in Basilicata