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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.

Copyright of Prassi Ecdotiche della Modernità Letteraria is the property of Prassi Ecdotiche della Modernita Letteraria 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.)

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.)

Research objective and materials: This article is devoted to the analysis of the results of the work carried out on the sources used by Vladimir Tiesenhausen in the compiling the Arabic volume of the “Collection of Materials Relating to the History of the Golden Horde”. Results and novelty of the research: A comparative study of texts extracted by Vladimir G. Tiesenhausen in 1884, with their new editions, presented the following picture: one group of publications represents academic editions with quality translations, accompanied by professionally executed commentaries. Another part of the sources was published based on one part of existing copies. As practice shows, sometimes the older and complete copies of published works remained out of coverage in such publications; their existing editions are not taken into account. The third group of sources is composed of works that remain in manuscript form to the present day. One such work – “al-‘Aylam al-zakhir fi akhbar al-awa’il wa-l-awakhir” by Mustafa ibn Hasan al-Janabi – exists in numerous copies. Searches and the discovery of its copies in Turkish funds show such source studies’ problems as incomplete cataloging of manuscript collections, unprofessional descriptions by compilers of some catalogues, inconsistency in the provided titles of the works and the names of their authors. The autograph (Süleymaniye Kütüphanesi, Yeni Cami, no. 831) and two full texts (Köprülü Kütüphanesi, Fazıl Ahmet Paşa, nos. 1031, 1032) are of great value in the publication of “al-‘Aylam al-zakhir”. The result is the formation of a creative portrait for the author of a published work and the creation of a complete image for his work on the basis of its copies. This may ensure against potential errors.

The manuscript preserved in the National Library of Spain under the signature Res/134 contains, among other works, the first act considered autograph of Lope de Vega’s El favor agradecido. In this work a paleographic study of his writing is carried out to answer two questions that arise from this field, one as to whether the different graphic changes observed in the text may be related to the existence of several hands in the manuscript and establish whether such an act should continue to be considered an autograph by the author, as there are several graphic differences observed regarding Lope’s canonical writing. The application of a rigorous analysis has also made it possible to correct a mistake that has been repeated in the dating of this testimony, from the date it appears on the cover.

Felicjan Faleński’s unpublished, first completed drama, Smutne dzieje powstania w Dalekarlii [The Sad Story of the Uprising in Dalecarlia] from 1867, corresponds to Victor Hugo’s program, whereby a work of dramatic art should be “the past revived for the present”. Written with a fresh memory of the January Uprising of 1863, Faleński’s text tells about the rebellion of the Swedes against Danish domination in the union of Scandinavian states established by the Kalmar Union at the end of the 14th century. The play depicts the abuses of the Danes and King Eric of Pomerania, the rebellion of Swedish nobility and the popular masses led by a simple miner, the overthrow of the king, the betrayal of one of the feudal lords, the coup d’état, and the assassination. The action is arranged according to the historical mechanisms known from Shakespeare’s chronicles; in presenting the monarch’s fate, Faleński adds the Calderonian element of the rule of divine providence over the world of earthly history.

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.)

The poetry of the greatest Ragusan humanist poet, Ilija Crijević (Aelius Lampridius Cervinus, 1463-1520), has been published in print only recently. This might prompt the conclusion that there was no particular interest in his oeuvre in the past. The survival of the voluminous autographs of Crijević in the Vatican Library seems to have resulted in the scholarly neglect of the manuscript tradition of his works that developed in his native city from the sixteenth to the nineteenth century. This manuscript tradition is studied in this essay with the aim of showing that for several centuries Crijević's works were not only copied but that the text was also critically edited. Particular attention will be devoted to the labors of Ivan Marija Matijašević (1714-1791), who pioneered the systematic research on Crijević's texts, as well as to those of Antun Agić (1753-1830), who prepared a manuscript edition of his poetry. Once identified and connected, Agić's scattered manuscript papers provide an invaluable guide to the history of the reception of Crijević's texts in Dubrovnik and beyond. The essay also identifies the hitherto unknown autograph letter Crijević sent to Prince Ferdinand of Naples and establishes that the manuscript dedicated to Paolo Orsini is similarly the poet's autograph. The result of the research underpinning the essay is the list at its end, providing the most complete account so far of the surviving manuscripts of Crijević's works. [ABSTRACT FROM AUTHOR]

Copyright of Studia Norwidiana is the property of Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego Jana Pawla II 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.)

Copyright of Creneida is the property of Creneida 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 aim of the work is to highlight the specifics of the handwriting expertise of writing heritage objects based on the experience of expert researches made at Kharkiv Korolenko State Scientific Library. The methodology of the research is based on the application of systematic approach, historical and comparative methods, the principles of the general theory of expertise and appraisal of documentary heritage objects value, methods and techniques of their paleographic and handwriting studying. Scientific novelty lies in disclosure of the specific features of the objects, tasks and stages of the handwriting expertise of writing heritage objects at a scientific library. Conclusions. A handwriting expertise of writing materials takes place at a scientific library and also at archives and museum in the cases when a problem situation arises and it is necessary to find out whether the handwriting object is an autograph or it was created on behalf or under the name of a certain person, i. e. a copy made by another person / persons, in particular, an imitation handwriting copy (museum, collection dummy sample, falsification). The object of historical handwriting studies is handwriting in writing heritage objects and in writing components of documentary and other cultural heritage objects. Historical handwriting studies is defined in the article as a section of handwriting studies and a section of paleography closely related to the main sections of this special historical discipline. Individual characteristics of handwriting are studied in the context of historical types and kinds of writing and other paleographic data but in the framework of the handwriting expertise tasks. Therefore, the main aim of the expert is to identify the author of the historical handwriting material. The research reveals the scientific and practical significance, the specific features of the tasks and stages of handwriting expertise of writing heritage objects as a research event taking into account the features and properties of handwriting heritage objects of different types, combination of individual handwriting characteristics with historical writing forms. It is proved that the results of the handwriting expertise of writing heritage objects may be a determinant factor when ascertaining a degree of their scientific, historic and cultural value, a basis for further scientific disclosure of library collections of heritage objects. [ABSTRACT FROM AUTHOR]

The article is an introduction to the issues of Adam Naruszewicz’s editorial techniques, revealed in the preserved autographs of his literary prose and scientific works. These manuscripts are divided into texts written by Naruszewicz and those dictated and edited by him. Initial research shows that the bishop's editorial work was done in line with the following criteria: clarity and credibility of the argument, substantive correctness, and shaping the content, the aim of which was to create a positive image of the king, Stanisław August. This often determined intervening in areas, which are difficult to be accused of being incorrect today. This is why the article attempts to indicate those editorial activities of the bishop, which could now be perceived as variants of the text, while, according to the author, they required amending. As an editor, Naruszewicz interfered with various aspects: factual errors, style, structure, punctuation, making clarifying additions, as well as self-censoring. All these editorial efforts show the literary skills of one of the most outstanding minds of Polish Enlightenment.

The article gives a holistic understanding of Lermontov’s poem “Dispute” (1841) in the dynamics of its birth from conception to publication in the journal of Slavophile orientation “Moskvityanin.” Creative history of the poem for the first time is fully reconstructed. The results of a comparative analysis of the draft and two finishing manuscripts of the poem having minor discrepancies between are presented. The reasons and mechanisms of Lermontov’s text corrections, which help to understand the movement of the author’s thought, are indicated. The conclusion is made about the peculiarities of artistic imagery of the poem. The process of Lermontov’s work on the text is associated with the saturation of specific images with symbolic sound. The artistic image created by the poet is the bearer of the pan-Slavic concept. The novelty of the study is associated with the clarification of the features of the birth and impact of poetic imagery of Lermontov’s poem significant for understanding his worldview. The urgency of the problem is associated with the need to clarify the features of Lermontov’s thinking; his work, being a reflection of the real pictures of his time, has a visionary potential. The question of Lermontov’s historiosophy is raised, his views on the role of Russia in the world historical process are clarified. Russia is portrayed by Lermontov as a great empire which power is likened to elemental force, exceeding capacity of once historically significant states.

The papyrus on which the so-called Tbilisi hymn to Dionysus survives (P. Ross. Georg. I 11 [LDAB 4911 = MP3 01861.000]) is remarkable for preserving, along with the hymn's text, a number of marginal and interlinear variant readings, which, interpreted as authorial variants, have led to the conclusion that the papyrus represents an autograph draft. As the present study argues, it is in fact more likely that the variants belong to a copyist or reviser rather than to the hymn's author. [ABSTRACT FROM AUTHOR]

This edition and translation of the newly discovered emblem designs by Tomasz Treter (1547–1610) is complementary to Alicja Bielak’s article (this issue) on a manuscript attributed to the Canon of Warmia. Anna Treter’s translation was intended to be faithful to the original in terms of content and style. The edition is based on the manuscript MM 378 from Biblioteca Civica Angelo Mai in Bergamo (fol. 9 r.–21 r.). The 25 sketches of emblems to be elaborated on below open Treter’s private notebook, with entries dating from the period between 20 June 1569 and 2 March 1575, as evidenced by the dates inside the codex, which does not exclude the possibility that Treter made corrections and additions after 1575. The notebook includes designs of full-sized emblems with titles, mottos, epigrams and images. Sketches drawn with a quill present a general concept of a composition, without any details (disegni). The title of the notebook was proposed by the editor as the author did not name it. The name written on the spine of the codex (Imprese) is likely to have been supplied later by an unknown person. As far as the themes dealt with in the emblems are concerned, the epigrams are mostly excerpts from the works of Saint Gregory the Great, Saint Augustine and Tertullian, (which was every time cited in the explanatory notes). In the commentary, the sources of graphical inspirations are also traced to Claude Paradin. The other 73 designs from the Bergamo codex, not included in this edition, are sketches of the emblems Symbolica vitae Christi meditatio (Braniewo: Jerzy Schönfels, 1612). [ABSTRACT FROM AUTHOR]

The goal of the paper is to present the attribution and codicological analysis of a manuscript currently stored at Biblioteca civica Angelo Mai in Bergamo (sign. MM 378). The paper describes the manuscript codicologically, also hypothesizing as to its presence in the Bergamo library. Based on a manuscript annotation on the codex’s upper pastedown, I argue that it was intended as a gift for one of the Załuski family. On the basis of the printed correspondence between Józef Andrzej Załuski and Angelo Maria Querini, it may be assumed that Codex MM 378 was among the parcels containing manuscripts from the circle of Stanisław Hosius that the Italian librarian intended to send to Załuski. The boxes with the codices never reached the Polish librarian due to the tardiness of the messenger, Jacques David Frédéric Perard. It is claimed here that both the inscriptions and images in the code are authored by Tomasz Treter. The manuscript’s attribution was based on palaeographic analysis (comparing the handwriting with Treter’s epistolography stored in the archives in Kraków and Olsztyn). According to the dates included in the code, the inscriptions were made between 20 June 1569 and 2 March 1575. The manuscript thus represents the earliest known evidence of Treter’s artistic activity. The autograph contains some previously unknown emblems by Treter, and a preliminary design of the emblem work Symbolica vitae Christi meditatio (published 1612). As many as 51 sketches in the manuscript overlap with the emblematic icons of the 1612 printing, all of which are more symbolic (hieroglyphic) representations of Christian virtues known from Treter’s printing, while there are no sketches of icons in the printed book referring to specific biblical scenes. Therefore, there is still uncertainty about the authorship of these compositions, which also differ in the quality of rendition from the previously mentioned ones. Comparing the autograph with the artist’s later published work offers insight into his technique. The drawings in the manuscript show very clear inspiration of Claude Paradin, Gabriel Syméon, Aneau Barthélemy and Andrea Alciato, which is not always conspicuous in the printed version. The analysis includes the final note, mentioning imprese with the painter Lorenzo Lotto, which explains correspondences between this artist’s work and the emblems from Symbolica vitae Christi meditatio. [ABSTRACT FROM AUTHOR]

Recently (2019/20), a new autograph written by Immanuel Kant in October 1786 was found and identified. It is a quotation from Horace's Epistles I. 1, 60 dedicated to Johann Friedrich Lange (1760–1826), a preacher and former student of Kant's at the Albertina University: "Let this be a man's brazen wall (rule of life), to be conscious of no ill, to turn pale with no guilt." Kant quoted the passage several times; one time in his MS. Horace was one of Kant's favorite Latin poets. [ABSTRACT FROM AUTHOR]

The present study is devoted to the history of creation of Russian translation “Molitva” of Latvian poet Aspazija (the name Elza Pliekšāne, 1865–1943). V. Ivanov made this translation for a collection of Latvian literature (“Sbornik latyshskoj literatury”, Petrograd, 1916; ed. by V. Bryusov, M. Gorky). The study was conducted with the involvement of all the surviving materials: correspondence of Bryusov and Ivanov, epistolary materials of others, Ivanov’s preparatory materials, manuscripts, translations from the archival storages of St. Petersburg, Moscow.

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.)

Copyright of Przekładaniec: A Journal of Translation Studies is the property of Jagiellonian University Press 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.)

Under the supervision of N.V. Sinicyna, the first and second volumes of the academic series of the collected works of Maxim the Greek were published in 2008 and 2014 respectively. The publication of these two volumes was the first step of a grandiose project, which promises to be a major event in Slavic studies. If the project is finished, the prospect of which has become less definitive after Sinicyna’s death in 2018, the series would conclude the preliminary stage in the evaluation of the writings of Maxim the Greek, and at the same time, open up new perspectives in the study of his writings. The author of the article, hoping that such an important undertaking will not stop at the second volume, offers a plan for completing the series. Some wishes are also expressed regarding additions to the already published volumes. In particular, it is absolutely necessary to include certain texts missing in the first volumes (translations and compilations among others) as well as commentary to the texts already published. Afterwards the publication of the series has to be continued. In order to face the problems that will arise in the process of preparing the next volumes, the author recommends to make use of the experience accumulated by Russian philologists. Indeed, they have published at a high academic level, multivolume series of complete collected works of each of the most prominent Russian writers. The questions that arise with the publication of every academic series of the kind includes the identification of autographs (if they are preserved), the attribution of the compositions, the selection of the main version for each of them, a critical analysis of its drafts and of the variants relevant for publication, the models of the historical, literary and real commentaries, the selection of a bibliography, and the required indices. In the case of Maxim the Greek, the publisher should take into account his extraordinary biography as far as it is reflected in his works, his encyclopedic erudition, the extensive manuscript tradition of his works, and different strata of manuscript evidence. If the work is completed according to the proposed plan, the collected works by Maxim the Greek might become a model for similar publications of other Old Russian writers.