Les intellectuels byzantins ne lisaient pas les œuvres anciennes de manière passive : en lisant, ils avaient toujours le calame à la main pour corriger les fautes du texte, ajouter des notes ou des scholies marginales, pour rédiger des commentaires ou pour en tirer des citations, qu’ils déposaient dans des cahiers de notes. L’étude d’un recueil d’extraits permet de s’approcher en quelque sorte du bureau d’un érudit du passé, de comprendre quels textes il lisait, pourquoi et comment il sélectionnait les passages à citer. Le Neap. II C 32 est un des témoins les plus remarquables de cette pratique de lecture active et il constitue le reflet des intérêts de lecture d’un érudit ou d’un groupe d’érudits, qui avait l’habitude d’annoter les passages les plus intéressants de toutes les œuvres qu’il lisait. Le codex a été écrit par un seul scribe : on peut l’identifier comme Georges Galésiotès, célèbre copiste professionnel qui travailla pour la chancellerie du patriarcat de Constantinople pendant la première moitié du XIVe siècle. Le Neap. II C 32 n’est pas d’un cahier de notes mais il représente la mise au propre de plusieurs brouillons, qui recueillaient plusieurs anthologies d’extraits. L’ordre du contenu du Neapolitanus ne semble pas fortuit, mais il correspond probablement à un projet précis. Le codex peut être divisé en trois sections : la première contient les extraits tirés de la Bible (ff. 1-27) ; la deuxième ceux sélectionnés des ouvrages à sujet religieux (ff. 28-149) ; la troisième est dédiée à la littérature profane. L’analyse critico-textuelle a permis de tracer la place des modèles de certaines anthologies d’extraits dans le cadre de la tradition directe des ouvrages présents dans le codex de Naples. / Byzantine scholars did not read ancient authors passively: when they read, they always kept a pen in their hands in order to be able to correct eventual mistakes, add notes or scholia, include commentaries. They often employed books to collect interesting quotes, which they annotated separately in handbooks, so that they were ready to be used in the composition of an original work. The study of an anthology of excerpts allows us to somehow approach the writing desk of a scholar of the past: in doing so, it grants us the possibility to understand which texts he read and why, and also analyze the method he used in exploiting his sources. Ms Neap. II C 32 is an exceptional witness of this form of ‘active’ reading. The codex constitutes the reflection of the literary interests of a group of scholars who used to annotate the most interesting passages they found while reading. The codex was written by an only scribe, i.e. George Galesiotes, who worked for the patriarchal chancellery of Constantinople in the first half of the 14th century. Neap. II C 32 is not a scholarly handbook: it is the fair copy of several handbooks. The anthologies of excerpts included in the manuscript have been organized according to a precise project. The codex can thus be divided into three main sections: the first one is dedicated to the Bible (ff. 1-27), the second one to works of religious nature (ff. 28-149), the third one contains profane authors. Textual-critical analysis allows us to situate some of the anthologies included in Neap. II C 32 within the main manuscript tradition of the authors.

The Vulnerable Machine is a book-length collection of poems that explores my ideas of the ill identity and the ill body. The title, The Vulnerable Machine, reflects both the personal—vulnerable—aspect of illness, and the cultural aspect, where illness is a construction and the body a machine that can be broken, fixed, and changed. The collection attempts to reveal my personal experience of illness, current social constructions of illness, and cultural representations of illness to arrive at a point where a personal voice of illness emerges. Many of the first person—and therefore more personal—poems explore my reactions to illness, as both a patient and a writer. With poems such as “I remember my body,” “the results come back,” and “writing on codeine,” I comment on the effects of illness on my sense of self; the effects of illness, hospitalisation, and medication on personal identity and body; and the shifting relationship between the self and the body as it changes from healthy to ill. In other poems such as “the doctor’s inheritance” and “a brief history of pain,” I investigate the social aspects of illness by examining the history of illness and medicine and the constantly changing body of medical knowledge and ‘truth.’ Such poems were inspired by the research I had done for the critical essay and illustrate a more critical engagement with illness. Different poems such as “Charles Bukowski,” “Virginia Woolf,” and “Charlotte Brontë” come from my position as both a patient but also a writer learning from other writers, and express the cultural representations of illness by considering the works of other writers, the cultural trends in illness writing and the demands placed on the ill by cultural expectations. The illness discussed in the work remains unnamed and undefined in the hope that from a beginning that avoids labels and categories a personal voice of illness is free to emerge. With this in mind, the speaker also remains anonymous. My desire with both the creative and critical works is to focus on the experience of illness as a phenomenon, and not a particular illness. In the critical essay I consider how to write an inclusive discourse for illness. The essay begins with an analysis of the processes of narration and its cultural imperatives to deduce ideas about the control of biomedical rhetoric in personal illness voices. With this idea in mind, The Diving-Bell and the Butterfly, by Jean- Dominique Bauby, is discussed as an example of the heroic quest; the essay argues that it is a contemporary manifestation of Talcott Parsons’ concept of the sick role, which leads into an interrogation of new ways of writing illness. I briefly analyse Eric Michaels’ AIDS diary, Unbecoming, as representative of a resistant narrative. The work of Julia Kristeva and Luce Irigaray offers suggestions for the restoration of ��criture féminine—feminine language—that sheds light on the development of a new discourse for illness. Exploring feminist ideas about destabilising patriarchal language leads to an exploration of the potential of lyric poetry to facilitate such renegotiations of language. This draws on the lyric technique of using personal experience to inform universal ideas, and the use of image and refrain to structure meaning. The discussion of the lyric is followed by an examination of “The Glass Essay,” by Anne Carson, in order to develop a method that may offer an alternative to current representations of illness. This is done by suggesting Carson’s work offers a technique to represent an independent, personal voice in illness. The essay suggests that the lyric poem is an ideal form for expressing a personal, subjective voice that nevertheless discusses larger issues and therefore removes the patient from their isolated social position.

This thesis is concerned with how we read, edit, and understand the socio-textual relationships between seventeenth-century literary manuscripts. It takes as its subject William Strode (1601?-1645), poet, preacher, and Public Orator of the University of Oxford. In particular, this study examines the transmission and reception of Strode's English verse, predominantly by examining verse miscellanies of the 1620s, 1630s and 1640s. Chapter 1 provides the most extensive account of Strode's life to date, situating his career as a manuscript-publishing poet alongside his academic and clerical careers and social and literary contexts. Chapter 2 studies Strode's autograph manuscripts in detail, focusing on an autograph notebook, in which Strode transcribed and revised his poems; a booklet of eight poems which provide insight into how Strode circulated his verse; and a no longer extant, authorial manuscript of Strode's verse, which raises the question of whether or not Strode intended to print his poems in a single-author collection. Chapter 3 follows Strode's poems from these autograph manuscripts into four verse miscellanies compiled by his most prolific collectors, and makes original arguments about how Strode's poems circulated in seventeenth-century Oxford. This chapter ends with a discussion of two poems by Strode, once thought lost to scholarship. Chapter 4 moves from Christ Church to consider the social and textual coordinates of Strode's Oxford, and non-Oxford readers, offering reconsiderations and revisions of arguments about the provenance of a range of verse miscellanies. Chapter 5 considers the reception of Strode's poetry in the verse miscellany, and uses this evidence to refine theorizations of 'social editing' and 'textual malleability', before offering guidelines towards an edition of Strode's English verse.

Cette thèse étudie les textes hiéroglyphiques connus sous le nom de « Recommandations aux prêtres » ou « Instructions aux clergé » et gravés dans certaines portes latérales de service des temples ptolémaïques et romains d’Edfou, de Kom Ombo, d’Isis et d’Hathor à Dendera et de Philae. Elle consiste en la publication d’une copie révisée et corrigée et d’une traduction des Recommandations aux prêtres, ainsi qu’en une analyse linéaire et une étude comparative des différentes versions de ces textes. Elle s’attache à proposer une définition et une nouvelle délimitation du corpus, et à formuler des hypothèses quant à la nature des Recommandations aux prêtres et à leur transmission. En effet, hormis celle du temple de Philae, les autres versions appartiennent à la même tradition textuelle. Nous montrons ainsi que c’est bien sous Ptolémée VIII Évergète II que les Recommandations aux prêtres ont été élaborées et rédigées, à Edfou. Elles se sont ensuite diffusées sur les sites de Dendera et de Kom Ombo. Les Recommandations d’Edfou constituent un ensemble homogène et affichent un caractère littéraire nettement marqué. Elles s’apparentent ainsi à un texte de Sagesse. À Dendera et à Kom Ombo, en revanche, c’est la dimension rituelle des textes qui a été mise en avant. La recherche systématique de parallèles phraséologiques et thématiques, principalement dans les autobiographies sacerdotales du premier millénaire, permet d’avancer que les Recommandations d’Edfou furent élaborées à partir d’un noyau textuel antérieur, vraisemblablement thébain. Les Recommandations de Philae, en regard, par leur contenu et leur nature, font figure d’isolat. / This thesis studies the hieroglyphical texts known as “Recommendations to the priests” or “Instructions to the clergy”. They are carved on some of the lateral service entrances in the ptolemaic and roman temples of Edfu, Kom Ombo, Isis and Hathor at Dendera, and Philae. The thesis consists in a revised and corrected copy and a translation of the Recommendations to the priests, as well as in a linear analysis and a comparative study of the different versions of these texts. The aims are to provide a definition and a new delimitation of the corpus, and to formulate hypotheses about the nature and transmission of the Recommendations to the priests. Indeed, apart from the version of Philae, the other versions belong to the same textual tradition. This thesis shows that the Recommendations to the priests were written and elaborated at Edfu, under the reign of Evergete II. They have later on been spread to Dendera and Kom Ombo. At Edfu, the Recommendations form an homogeneous set, written in a clear literary style. They could be related to a Teaching Text. By contrast, at Kom Ombo and Dendera, the ritual aspect of the texts has been emphasized. The search for phraseological and thematical parallels –mainly in priestly autobiographies from the First Millennium– points to the conclusion that the Recommendations of Edfu were elaborated from a previous textual core, possibly coming from Thebes. By comparison, based on their content and nature, the Recommendations of Philae seem to be an isolate.

This thesis investigates how the burial chamber of the 8th Dynasty pyramid of king Qakare Ibi at Saqqara in Egypt (c. 2109-2107 B.C.) was inscribed. It uses a holistic approach to focus on the textual programme and its unusual aspects in comparison to older pyramids. In doing so, it addresses issues of textual transmission and of scribal practice in the process of inscribing the walls of subterranean chambers in pyramids. The aim is to contextualise the texts of Ibi within the Memphite tradition of Pyamid Texts and the development of mortuary literature on different media from the late third millennium BCE Old Kingdom to the Middle Kingdom in the early second millennium BCE. The first chapter presents the background to this research and information on king Ibi and his pyramid. The second chapter treats research on the arrangement of the texts on the walls of subterranean chambers of royal pyramids of kings and queens and compares the layout of the texts in the pyramid of Ibi with older pyramids. It then discusses in detail one section on the east wall of Ibi, where the order of spells diverges from other transmitted sequences. The unusual combination of spells and the practice of shortening spells is investigated further in the third chapter, where two sections of texts on the south wall are analysed. The fourth chapter explores garbled texts and discusses processes of copying and inscribing the texts onto the walls of pyramids. The fifth chapter analyses the modifications of the writing system in pyramids, especially the mutilation of hieroglyphs, and how this practice relates to the tradition of altering signs in pyramids. Finally, the sixth chapter synthesises the results of the preceding chapters in two sections. The first section summarises the process of inscribing pyramids and contextualises aspects of scribal practices within it. The second section concludes the thesis with a discussion of the features of the textual programme of Ibi and of how it relates to the broader transmission of mortuary literature.

Zugl.: Münster, Universiẗat, Diss., 2007 u.d.T: Mülke, Markus: Falsare haec et corrumpere non timerunt.

La thèse « Ovide dans la General estoria d’Alphonse X » a pour objectif l’étude de la réception du poète latin dans l’histoire universelle conçue au sein de l’atelier dirigé par Alphonse X pendant le dernier quart du XIIIe siècle (ca. 1270-1284). Ladite œuvre prétendait relater l’histoire de l’homme depuis la Genèse jusqu’au règne du roi Alphonse lui-même. La source fondamentale de la General estoria est la Bible. S’ajoutent à la matière biblique diverses notices païennes ou « gentilles » (étrangères au peuple hébreu). Dans les deux premières parties de la General estoria, les sources fondamentales pour les récits gentils sont les Métamorphoses et les Héroïdes d’Ovide. Cet usage est complété par un emploi fragmentaire des Fastes, des Remèdes à l’amour, de l'Art d’aimer et des Pontiques. Nous avons porté notre attention aussi bien sur la méthode de traduction de l’œuvre d’Ovide que sur les techniques de compilation de la General estoria. Ainsi, cette thèse est structurée de la façon suivante : 1) une introduction où nous décrivons les règles qui caractérisent la lecture d’Ovide au Moyen Âge (ch. 1) ; 2) une étude des éléments contextuels du texte latin en trois sections : une étude des accessus, des gloses et des commentaires qui accompagnaient le texte latin dans l’étape médiévale (ch. 2) ; une analyse des œuvres mythographiques qui s’insèrent dans la compilation (ch. 3) ; enfin, la description des caractéristiques qui définissent l’utilisation des œuvres d’Ovide moins employées: les Fastes, l'Art d’aimer, les Pontiques et les Remèdes à l’amour (ch. 4). Finalement, dans le deuxième bloc de la thèse (ch. 5), nous avons fait une analyse exhaustive et détaillée des fragments empruntés aux œuvres d’Ovide dans la General estoria. / The aim of the dissertation “Ovid in Alfonso X’s General estoria” is to study the translation of the Latin poet in the universal history conceived within the workshop directed by Alfonso X during the last quarter of the 13th century (ca. 1270-1284). The aforementioned work intended to recount the history of man from Genesis up to the reign of King Alfonso himself. The main source of the General estoria is the Bible. Various pagan or “Gentile” (non-Jewish) notes are added to the biblical material. In the first two parts of the General estoria, the basic sources for the Gentile stories are Ovid’s Metamorphoses and Heroides. This usage is complimented by fragments of the Fasti, the Remedia Amori, the Ars Amatoria and the Epistulae ex Ponto. The study is also centred on the translation method of Ovid’s work as well as on the compilation techniques of the General estoria. Thus, the present dissertation is structured as follows: 1) an Introduction where the rules that characterize the reading of Ovid in the Middle Ages are described (ch. 1); 2) a study of the contextual elements of the Latin text in three sections: a study of the accessus, the glosses and commentaries that accompanied the Latin text in the medieval stage (ch. 2); an analysis of the mythographic works inserted in the compilation (ch. 3); finally; the description of the characteristics which define the employing of Ovid’s less used works: the Fasti, the Remedia Amori, the Ars Amatoria and the Epistulae ex Ponto (ch. 4). In the end, the second part of the dissertation (ch. 5) develops an exhaustive and detailed analysis of the fragments taken from Ovid’s works in the General estoria.

The aim of the present thesis is translation, detailed analysis and interpretation of the Coffin Texts of the Late-period tomb of Iufaa at Abusir. The corpus of these texts is unique, because except for a few text sequences, which were common in the Late Period, there are texts that are not preserved elsewhere in the Late Period and sometimes only exist in highly fragmentary Middle Kingdom versions. The Coffin Texts found on Iufaa's outer sarcophagus and on the walls of his burial chamber consist only of such uncommon texts. Some of these are also placed on the inner sarcophagus, whereall theremaining Coffin Texts spells are also located. The thesis presents a translation and analysis of the individual texts, focusing on their development, tradition and changes between the Middle Kingdom and the Late Period, including commentaries on grammar and language use as well as on the content. Iufaa's versions of these texts significantly contribute to our understanding and interpretation of some Coffin Texts spells and present a wider view on Egyptian religious texts and their interpretation, as well as on the textual transmission and work of Egyptian priests and scribes themselves.

The thesis provides comprehensive information about the Old Czech translation of the chronicle Martimiani. In accordance with the stated goals, it interprets it in the context of the original texts, in the context of Old Czech variant texts, as a document of language development and in the literary-cultural and historical context. Above all, it characterizes the preserved Old Czech sources of the chronicle, clarify the genesis of the Old Czech translation, determines its place in contemporary writing, defines its influence on the development of Czech literature and the language and tries to understand and justify its changing popularity. The theses presents a brief codicological description of manuscripts and the incunabulum, a description of the orthography of particular manuscripts and the incunabulum, a description of language in all plans (from phonic through morphological to syntactic), with particular attention to the developmental dynamics of the language, both within one source and in the comparison between source texts. Based on the comparison of Old Czech sources with each other and with foreign language pretexts, it describes relations between particular sources and outlines the likely form of the text tradition of the monument. It summarizes and disseminates information about the Old...

La tesi si propone di indagare l’intertestualità dantesca nell’opera volgare di Matteo Maria Boiardo. Il fenomeno è già stato oggetto di studi – indirizzati soprattutto al poema cavalleresco, e in misura minore (specie negli ultimi anni) al canzoniere lirico – che si sono mossi però nell’alveo dell’impostazione strutturalista, con una considerazione della memoria poetica da un punto di vista formalista e tipologico. Questa corrente ha consentito sviluppi importanti negli studi filologici, ma porta a vedere il fatto letterario staccato dal suo contesto di riferimento. Se questo esito in Italia è stato arginato da una forte base storicista, va detto che gli studi sulle riprese poetiche hanno però vissuto una situazione particolare. Da una parte, infatti, lo strutturalismo fra anni ’60 e ’70 ha imposto anche in Italia, attraverso una serie di importanti lavori, il suo modo di trattare la questione, senza poi che il successivo approdo semiotico incidesse in maniera significativa. Dall’altra, la reazione di chi voleva agganciare il fenomeno al dato storico ha riportato il problema all’impostazione erudita della critica delle fonti, privilegiando la raccolta dati da mettere in relazione con le informazioni sulla storia della tradizione e della circolazione. L’obbiettivo di questa tesi è fare un passo avanti, nella convinzione che per lo studio di questi fenomeni di riuso sia la circolazione manoscritta che i dati testuali e formali vadano letti in una piena prospettiva semiotica: guardare ai fenomeni di tradizione e trasmissione testuale nell’ottica dei processi ricettivi, e considerare le scelte di memoria poetica come atti comunicativi, con un valore pragmatico. La ricerca ha l’intento di giungere ad una maggior comprensione del rapporto del dotto poeta umanistico con il modello dantesco, un’interpretazione più chiara delle strategie di riuso, determinate dal particolare modo di leggere la Commedia nel contesto specifico, e perciò attraverso un preciso filtro fra quelli disponibili al tempo. Accanto all’insieme di informazioni filologiche sulle attestazioni manoscritte nelle biblioteche del tempo, l’indagine qui condotta consente – anche da un punto di vista che potremmo definire attributivo – di indicare in Benvenuto da Imola l’esegeta di riferimento per Boiardo e il suo pubblico, proprio perché l’osservazione ravvicinata dei testi e dei loro legami fa emergere questa tradizione interpretativa come la più attiva nell’elaborazione boiardesca rivolta ai lettori. Il lavoro non ha preso le mosse da un afflato teorico, teso a riconcettualizzare l’intertestualità, ma da un intento di chiarificazione sui testi e alcuni loro aspetti che non sembravano però trovare una spiegazione soddisfacente all’interno del quadro metodologico diffuso. Il lavoro, allora, ha assunto poco alla volta anche una vena metodologica sorta dall’osservazione dei fenomeni in modo nuovo. E così, accanto all’indagine storico-letteraria, e in stretta relazione con essa, è stato possibile avanzare alcune proposte ermeneutiche sui meccanismi intertestuali in base alle dinamiche della comunicazione letteraria. E nelle pagine che seguono il percorso si articola attorno a nuclei diversi ma interconnessi: da una parte la riflessione generale a carattere semiotico sui fenomeni di memoria poetica, che vengono concettualizzati grazie agli apporti di discipline come la pragmatica; segue una ricognizione storica sulle modalità di lettura e ricezione del modello dantesco – e non solo – in base alla circolazione dei testi e dei loro apparati esegetici; si arriva poi al nucleo del lavoro con l’affondo diretto su opere e paratesti esegetici con le loro relazioni, che si instaurano all’interno del laboratorio d’autore e poi da lì arrivano al pubblico.