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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 Completed with a historiographical introduction and an appendix of unpublished letters, the volume traces Ezio’s path as a Jewish intellectual in Fascist Italy, his role as a cultural mediator of Spanish contemporary literature to Italy,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.

Gustav Gröber (1844–1911), Professor of Romance Philology at the Universities of Zurich, Breslau (Wrocław) and Strasbourg, went down in the annals of his discipline for the founding of the «Zeitschrift für romanische Philologie» (1877), which exists still today. Gröber’s merits have been appreciated by the writers of his obituaries, but as he has destroyed his personal papers prior to his death, we know little about his professional environment. The present article evaluates more than six-hundred letters which Gröber wrote to certain peers and traces back the period of time the «Zeitschrift» needed to consolidate and gain international reputation.

The aim of this article is to shed light on the relashionship between the manuscript N2, the collection compiled by Giulio Camillo in the XVIth century, and Pv, a XIII-XIVth century fragment, probably deriving from a Tuscan manuscript, both containing Raimbaut d’Aurenga’s rare vida. The texts contained in both are roughly similar, but Pv carries also the signature of the biographer Uc de Saint Circ. The presence of this vida in N2 and the manuscripts belonging to the Venetian group IK (k) is crucial to the understanding of the relationship between them. The article discusses textual variants, on he basis of which a new critical text is proposed. Finalità di questo articolo è presentare una nuova edizione della vida di Raimbaut d’Aurenga, aggiungendo alla già nota testimonianza di N2 (XVI secolo, compilazione di Giulio Camillo Delminio) quella del frammento pavese Pv (XIII- XIV secolo, derivato da un ms. di probabile origine toscana, recentemente scoperto da G. Mascherpa e F. Saviotti). La presenza della vida nei due testimoni consente di formulare nuove ipotesi circa le relazioni tra N2 e il gruppo di mss. veneti AIK; l’interesse del confronto si deve inoltre, più che alle non molte varianti sostanziali, alla presenza, nel frammento, della firma autoriale di Uc de Saint Circ.

International audience; À partir d’une lettre autographe écrite par Madame de Sévigné et Madame de Grignan découverte à Harvard, le présent article tente de comprendre le fonctionnement de la polyphonie d’un point de vue paléographique. Les discours rapportés directs et indirects, l’écriture à plusieurs mains, la citation, les jeux d’écho sont ainsi étudiés sous l’angle de leur signalement graphique, avec un intérêt particulier pour la virgule, dont la marquise a une utilisation toute personnelle.

In this contribution we shall present some anomalies in the musical notation of the anonymous lyric lais transmitted by French chansonniers M and T (i.e. Kievrefoil, Markiol and Nompar), which share the same source, and to which a recently discovered chansonnier fragment (Bo) can be added. The plural attestation of these heterostrophic texts allows to nuance the strict notion of musical error, advocated by John H. Marshall for this very corpus. Finally, we discuss an interesting case (Nompar, str. X) where musical notation can effectively help the reconstruction of a text corrupted in both witnesses., Dans cette contribution nous allons présenter quelques cas d’anomalies dans la notation musicale des lais lyriques anonymes transmis par les chansonniers français M et T (notamment Kievrefoil, Markiol et Nompar), qui partagent une même source, et auxquels vient s’ajouter un fragment de chansonnier récemment découvert à Bologne (Bo). L’attestation plurielle de ces textes hétérostrophiques permet parfois de nuancer la notion stricte d’erreur musicale, prônée pour ce même corpus par John H. Marshall. En dernier lieu, nous discutons un cas intéressant (Nompar, str. X) où la notation musicale peut constituer un élément de poids pour la reconstruction d’un texte manifestement corrompu dans les deux témoins.

Riassunto: Il contributo ricostruisce la tradizione degli studi catalani che l’Universita di Bari, e segnatamente la cattedra di Filologia Romanza coperta da Giuseppe Edoardo Sansone, ha visto nascere tra fine anni ‘50 e inizi anni ’60, e poi fiorire nei decenni successivi. Aprendo alla catalanistica le porte del mondo accademico molto precocemente, si creava a Bari non solo uno spazio accademico di ricerca, ma anche un luogo di promozione e di risonanza nazionale e internazionale per la catalanistica. Si ricostruiscono, a grandi tratti, i principali filoni di ricerca che hanno visto l’impegno del gruppo barese primigenio, ricordando i contributi fondamentali dei singoli componenti e le principali linee di ricerca che ciascuno di essi ha sviluppato in prosieguo di tempo. Parole chiave: Filologia Romanza, lingua e letteratura catalana, Universita di Bari Abstract: This contribution aims at tracing the tradition of Catalan studies that the University of Bari, with the chair of Romance Philology covered by Giuseppe E. Sansone, saw being born in the late 1950s - early 1960s at, and then flourished in the following decades. By opening the doors of the academic world to Catalanism very early, Bari was not only creating an academic space for research, but also a place of promotion and national and international resonance for Catalanism. The main lines of research faced with by the original Bari research group are recalled, together with the fundamental contributions of the individual components and the main lines of research that each of them has developed over time. Keywords: Romance Philology, Catalan language and Literature, University of Bari

The volume contains the commented edition of the Devisement dou monde based on the Berlin Staatsbibliothek - Preußischer Kulturbesitz Codex, Hamilton 424. The Hamilton 424 Codex, transcribed in Venice in the second half of the fifteenth century, contains the translation of a Latin model (whose features can be partially reconstructed virtually starting from some translation errors) and is the only known witness of V. Due to its characteristics, V represents a crucial point in the definition of the transmission dynamics of Polo’s book: its readings are confirmed, often in a broader form, by the Latin version known as Z. V strengthens the hypothesis that, after returning to Venice, Marco Polo modified the text written with Rustichello da Pisa in Genoa. Actually, version V represents the first step of this long process of rewriting, which probably occurred in several phases. This volume includes an introduction, the text edition, a textual commentary, as well as an index. A second and forthcoming volume will contain the linguistic analysis and glossary.

In una delle novelle piú significative e artisticamente piú riuscite del Quattrocento italiano, la Novella del Grasso Legnaiuolo, il protagonista è vittima di una beffa ordita da una brigata di artisti capeggiata da Filippo Brunelleschi, i quali riescono a fargli credere di essere un altro. La perdita della propria identità non è altro che la forma estrema di un tipo di racconto assai diffuso nella novellistica dal Boccaccio al Rinascimento: le beffe basate sul fatto che il beffato non sia pi...

This paper presents the critical edition of the vernacular version of Tractatus de locis terre sancte, the Latin travel chronicle to the Holy Land written by Francesco Pipino (about 1270-1330), a Dominican friar best known for his Latin translation of Devisement dou Monde. The edition is based on the codex VI 56 (6140) (Venezia, BNM), which contains the only still known copy of this vernacular version.

International audience

One of the most important challenges for European integration is the strengthening of the sense of a European cultural identity. The investigation of the origins of the European culture is at the core of the Romance Philology, a discipline that has a very prestigious tradition, but that seems now inexorably destined to disappear. How can we explain this paradox? In this paper, I will investigate the status of the Romance Philology in the French-speaking Belgian universities, with particular consideration for the initial stage, the establishment of the discipline at the University of Liège at the end of the nineteenth century.