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Der Digital Humanities Day Leipzig ist eine seit 2017 jährlich am Dies academicus stattfindende Veranstaltung des Forums für Digital Humanities Leipzig (FDHL; fdhl.info), welche die regionale und überregionale Vernetzung von DH-Akteur:innen zum Ziel hat

This dissertation examines the creation of innovative scholarly environments, publications, and resources in the context of a social knowledge creation affordances engendered by digital technologies. It draws on theoretical and praxis-oriented work undertaken as part of the Electronic Textual Cultures Laboratory (ETCL), work that sought to model how a socially aware and interconnected domain of scholarly inquiry might operate. It examines and includes two digital projects that provide a way to interrogate the meaning of social knowledge creation as it relates to early modern studies. These digital projects – A Social Edition of the Devonshire Manuscript (BL Add. 17,492) and the Renaissance Knowledge Network – approach the social in three primary ways: they approach the social as a quality of material textuality, deriving from the editorial theories of D. F. McKenzie and Jerome McGann; as a type of knowledge work that digital technologies can facilitate; and as a function of consciously designed platforms and tools emerging from the digital humanities. In other words, digital humanities practitioners are uniquely placed to move what has until now been customarily an analytical category and enact or embed it in a practical, applied way. The social is simultaneously a theoretical orientation and a way of designing and making digital tools — an act which in turn embeds such a theoretical framework in the material conditions of knowledge production. Digital humanists have sought to explain and often re-contextualise how knowledge work occurs in the humanities; as such, they form a body of scholarship that undergirds and enriches the present discussion around how the basic tasks of humanities work—research, discovery, analysis, publication, editing—might alter in the age of Web 2.0 and 3.0. Through sustained analysis of A Social Edition of the Devonshire Manuscript (BL Add 17,492) and the Renaissance Knowledge Network, this dissertation argues argues that scholarly communication is shifting from a largely individualistic, single-author system of traditional peer-reviewed publication to a broadly collaborative, socially-invested ecosystem of peer production and public facing digital production. Further, it puts forward the idea that the insights gained from these long-term digital humanities projects – the importance of community investment and maintenance in social knowledge projects, building resources consonant with disciplinary expectations and norms, and the necessity of transparency and consultation in project development – are applicable more widely to shifting norms in scholarly communications. These insights and specific examples may change patters of behaviour that govern how humanities scholars act within a densely interwoven digital humanities. This dissertation is situated at the intersection of digital humanities, early modern studies, and to discussions of humanities knowledge infrastructure. In content it reports on and discusses two major digital humanities projects, putting a number of previous peer-reviewed, collaboratively authored publications in conversation with each other and the field at large. As the introduction discusses, each chapter other than the introduction and conclusion originally stood on its own. Incorporating previously published, peer-reviewed materials from respected journals, as well as grants, white papers, and working group documents, this project represents a departure from the proto-monograph model of dissertation work prevalent in the humanities in the United States and Canada. Each component chapter notes my role as author; for the majority of the included material, I acted as lead author or project manager, coordinating small teams of makers and writers. In form this means that the following intervenes in discussions surrounding graduate training and professionalization. Instead of taking the form of a cohesive monograph, this project is grounded in four years of theory and practice that closely resemble dissertations produced in the natural sciences. / Graduate

La peptidyl-ARNt hydrolase est une enzyme qui hydrolyse les peptidyl-ARNt issus d'une terminaison prématurée de la traduction. Cette protéine est essentielle à la viabilité des bactéries, mais pas à celle des eucaryotes, ce qui fait d'elle une cible potentielle pour l'action d'anti-bactériens. Cela justifie également qu'on cherche à cartographier l'interaction de cette protéine avec son substrat, pour faciliter la conception d'inhibiteur. Les tentatives d'obtention de cristaux de complexes enzyme:analogue de substrat étant restées vaines, nous avons choisi d'étudier de tels complexes en solution, par RMN. Grâce à un double marquage 15N/13C, nous avons tout d'abord attribué les fréquences de résonance des atomes du squelette de la protéine et d'une grande partie des chaînes latérale. Nous avons ensuite étudié l'interaction entre la PTH d'E. coli et un analogue de son substrat synthétisé chimiquement, la diacétyl-Lys-(3'NH)-adénosine. Cette étude nous a permis de caractériser le rôle de nombreux résidus du site actif, notamment celui d'une phénylalanine (F66) interagissant via son cycle aromatique avec l'adénine 3'-terminale du substrat, celui d'une asparagine (N114) stabilisant une molécule d'eau responsable de l'hydrolyse du substrat et celui d'une autre asparagine (N10) permettant à la PTH de discriminer positivement les peptidyl-ARNt par rapport aux aminoacyl-ARNt. Nous avons aussi étudié l'interaction entre la protéine et des mini-ARNt mimant la tige acceptrice et le bras TΨC d'un ARNt. Ce travail a permis de cartographier la surface de la PTH où l'ARN s'ancre à la protéine. Il a confirmé l'importance de deux résidus basiques, la lysine K105 et l'arginine R133, pour la reconnaissance du phosphate en 5' de l'ARNt. Il a également révélé une interaction entre l'hélice C-terminale de la protéine et le bras TΨC de l'ARNt, à 30 Å du site actif. La pertinence fonctionnelle de ce dernier contact a pu être établie par mutagenèse dirigée. L'ensemble de ces résultats permet de proposer un modèle complet de l'interaction entre la PTH et un peptidyl-ARNt.

Die Rezension bezieht sich auf den von der Forschergruppe "Allgemeine Literaturwissenschaft" an der Ungarischen Akademie der Wissenschaften herausgegebenen Sammelband "Kulturtechnik Philologie". Es werden das Gesamtkonzept des Bandes und ausgewählte Artikel näher besprochen.

This work deals with Carl Luython's madrigal composition. Carl Luython was composer and organist at the court of Rudolph II. Part of this work is a critical edition of the first book of madrigals of Carl Luython and deeper analytical probe into the two selected madrigals: Due rose fresche a Io mi rivolgo indietro. Key words Luython, Petrarca, Rudolph II., Prague, madrigal, edition, analysis

Etude des conceptions et pratiques d'édition de la littérature dont témoignent les parcours de Jean Cayrol et de la collection Ecrire,confirmant l'hypothèse d'une écriture éditoriale dont l'édition française reste durablement marquée. Dans l'histoire de l'édition française, la période de l'après-guerre figure un renouvellement du paysage littéraire. Une jeune littérature advient promue par les éditeurs. Parmi plusieurs nouvelles structures, les éditions du Seuil se distinguent par leur volonté de rejoindre le camp des grandes maisons généralistes. Un éditeur, qui est aussi auteur au Seuil, prend en main l'avenir littéraire de la maison d'édition, il s'agit de Jean Cayrol. Résistant, ayant séjourné dans un camp de concentration et solidement attaché à la littérature. Cayrol invente le romanesque lazaréen. Manière d'écrire, de publier, qui tient compte de l'expérience concentrationnaire sans la citer nommément. En 1956, Jean Cayrol fonde la collection Écrire. Les auteurs n'y sont publics qu'une seule fois, pour de courts textes qui, habituellement, échappent au regard de l'éditeur. La critique remarque les auteurs sélectionnés par Cayrol. Leur singularité reflète l'éclectisme de leur éditeur qui développe une technique éditoriale propre, une manière de lire, de choisir et de bâtir un édifice littéraire. À sa suite, douze auteurs deviennent éditeurs. Chacun, singulièrement, perpétue le style de Jean Cayrol, apporte sa marque à l'édition littéraire française. Des collections témoignent d'une attention accrue aux jeunes auteurs dans la période 1950-1965, aucune n'a poussé l'expérience éditoriale autant qu'Écrire. / Study of the works of Jean Cayrol in his collection "Ecrire" that will illuminate into the study of conceptions and practic of publication of literature. The study will confirm the hypothesis of a form editorial writing, which strongly influenced French publication. The period after the war is representative of a renewal in the landscape of literature, which saw the promotion of a fresh form of literature. Among these new structures, the publishing house "Edition du Seuil" set itself apart by its willingness to join the bigger, well known, general publishing houses. Jean Cayrol who was both an author and editor in "Edition du Seuil" took charge of its literary future. Having spent time in a concentration camp as a consequence of his resistance, Cayrol was solidly attached to literature. He invented the "Lazareen" which is a type of novel writing associated with biblical Lazarus's story. This form of writing acknowledges the experience without explicitly citing it. In 1956 Jean Cayrol crea ted "Ecrire" a collection of short texts, which would ordinarily not have caught the eyes of publishers. Authors were published only once in this collection and we fortunate to be recognized by the critics. The assortment of the author's diverse works in this collection projected the publisher's uniqueness to develop a spécifie editorial technique, a way of reading and a path of choice to a lïterary edifice. Consequently, 12 authors in his collection became publishers each perpetuating Jean Cayrol's style in French literature publications. In the period 1950-1965, no collection was able to promote young authors and impact publication as much as "Ecrire".

The main subject of the diploma thesis is the view of the war and the military through the early modern opinions of lower nobles, especially by Henry Hýzrl from the Chod (1575- 1665) and Sigmund Chotek of Chotkov (1521-1603). The time frame is set from the 16. to 17. century. Views on contemporary defence of the country are reconstructed on the basis of previously unreleased military debate which is titled Kriegsdiscurs über der hochlöblichen Cron Bohemia Landtdefension by Henry Hýzrl from the Chod. This debate is partly accessible in academic edition at the end of the thesis. The next source, for understanding the intellectual world of the Czech nobility during the wars with the Turks, is military instruction by Sigmund Chotek of Chotkov. The work is based on military debate by Henry Hýzrl from Chod. It is a completely unique view of the war through the view of the Bohemian nobleman.

Le traité Ps. Aristotélicien Περὶ θαυμασίων ἀκουσμάτων (De mirabilibus auscultationibus) est un recueil de 178 brefs chapitres qui décrivent une variété de phénomènes merveilleux. Le texte a été transmis par une vingtaine de manuscrits grecs, copiés entre le XIIe siècle et les premières années du XVIe. Notre étude vise à la reconstruction des relations entre tous les témoins manuscrits afin d'aboutir une nouvelle édition critique du texte, qui doit remplacer l'édition de Bekker (1831), assez vieillie et fondée sur une connaissance assez réduite de la tradition. Tous les manuscrits ont été collationnés et étudiés d'un point de vue codicologique et paléographique. Les résultats peuvent être résumés comme suit : 1. La tradition directe du texte est constituée par trois branches que nous avons nommées αβγ. Les deux premières (αβ) semblent être étroitement liées et on peut en reconstruire un ancêtre commun (ψ). 2. Suite à une eliminatio codicum descriptorum, seulement 7 manuscrits ont été retenus pour l'établissement du texte. Les leçons de ces manuscrits seulement doivent être notées dans l'apparat critique. La thèse est complétée par l'étude des traductions latines médiévales et modernes du traité (dès Barthélemy de Messine, XIIIe siècle, avec édition critique du texte, jusqu'à Antonio Beccaria, fin XVe siècle). Une partie du texte a été consacrée à l'étude de la tradition indirecte et aux éditions imprimées (dès 1497/98 jusqu'au XVIIe siècle). La thèse est complétée par une nouvelle édition critique du texte grec, accompagnée par une traduction italienne et un commentaire philologique. / The Ps.-Aristotelian treatise Περὶ θαυμασίων ἀκουσμάτων (De mirabilibus auscultationibus), a collection of 178 brief chapters dealing with a wide range of topics, has been transmitted to us in little more than 20 Greek manuscripts, copied between the XIIth and the early decades of the XVIth century. The present study aims to reconstruct the relations between all the extant witnesses in view of a new edition of the text, which will finally substitute the one established by Immanuel Bekker in 1831: to this end all manuscripts have been collated afresh and studied in detail from a palaeographical and codicological point of view. The main results of our research may be summarized as follow: 1. The direct tradition of the text can be divided in three main branches (αβγ); the first two families, however, seem to be closely related and it is possible to infer the existence of a common ancestor (ψ) linking these branches of the stemma. 2. After a careful eliminatio codicum descriptorum, only 7 manuscripts turned out to be independent witnesses: only these Greek manuscripts should therefore be retained for the constitution of the text. The study also includes some preliminary observations on the text of the extant Latin translations (the one by Bartholomew of Messina, XIIIth century, and the later Latin paraphrase by Antonio Beccaria, XVth century) and on the fragments of the medieval translation by Leontius Pilatus, preserved only in brief quotations by other authors (mainly Boccaccius and Domenico Silvestri). A section of the work is consecrated to the study of the most ancient indirect tradition (testimonia) and the early printed editions of the text (from 1497/98 up to the XVIIth century). The dissertation is concluded by a new edition of the Greek text, with an Italian translation, and a philological commentary.

A presente dissertação apresenta uma edição crítica de Électre, música incidental de Alberto Nepomuceno, fundamentada por uma leitura hermenêutica. Objetiva-se produzir uma edição que reflita a composição no contexto original ao qual se destinava, levantando elementos que elucidem a influência dos estudos que Nepomuceno realizou na França, ao final do séc. XIX. A pesquisa fundamenta-se no conceito de fusão horizôntica, advindo da hermenêutica filosófica e, por isso, possui um caráter transmetodológico. Por conseguinte, o objeto é abordado a partir dos horizontes interpretativos histórico-cultural, estrutural e intertextual. Ao final, cada horizonte desvelado traz um aporte de compreensão próprio: a proximidade das personalidades e ideais estéticos da Schola Cantorum, o pseudomodalismo francês e a influência \"grega\" de Saint-Saëns. / This dissertation presents a critical edition of Électre, incidental music of Alberto Nepomuceno, founded on a hermeneutic reading. It aims to produce an edition that reflects the composition in the original context to which it was intended, raising elements to elucidate the influence of Nepomuceno\'s studies conducted in France at the end of the 19th century. The research is based on the concept of horizontic fusion, from philosophical hermeneutics and therefore has a transmethodological character. Therefore, the object is approached from the historical and cultural, structural and intertextual interpretive horizons. At the end, each unveiled horizon brings a contribution to the understanding: the proximity of personalities and aesthetic ideals of the Schola Cantorum, the French pseudomodal style and \"greek\" influence from Saint-Saëns.