For the last eleven years of her life—1963 to 1974—the Mexican woman-of-letters Rosario Castellanos published a regular article in the opinion section of the Mexico City newspaper Excélsior. This edition provides a selection of 65 of these 341 articles, in both the original Spanish and in translation to English, with editorial annotations illuminating the articles’ historical, literary, and textual contexts; it is accompanied by a chronology largely of Castellanos’s life and work, in particular detail for the Excélsior years, and by a catalogue of all her Excélsior opinion articles. / 2024-11-16T00:00:00Z

No description available.

Dans la deuxième partie du XIXe siècle, les femmes qui osent écrire et publier sont encore très peu nombreuses. Face à une société qui les rejette ou qui les traite de bas bleus, elles sont à la recherche de solutions et celles qu’elles trouvent sont soit se cacher sous des apparences d‘hommes et publier sous pseudonyme, soit par contre, approfondir le féminin et écrire une littérature du moi : journal, autobiographie, roman épistolaire.Margareta Miller-Verghy (1865-1953), une écrivaine ignorée par les histoires littéraires, qui est pourtant parmi les premières écrivaines francophones roumaines, commence sa carrière littéraire en publiant sous pseudonyme. Ses romans, dont le dernier Blandina, qui paraît à titre posthume et en traduction roumaine, témoignent de cette littérature à forte dimension autobiographique. Son destin traverse deux siècles et peut être considéré comme représentatif du chemin que la femme-écrivain parcourt à partir de l’époque du mépris et de la méfiance du XIXe siècle, jusqu’à la pleine acceptation, au XXe siècle.Margareta Miller-Verghy naît à Jassy, Roumanie, mais passe son enfance et plus tard sa jeunesse à Genève, dans un milieu non seulement francophone, mais aussi multilingue. Ainsi s’explique son penchant pour les langues et son talent de traductrice qu‘elle exerce dans un premier temps en traduisant en français l’œuvre de Mihail Eminescu, le plus grand poète roumain. Après une licence en Sciences Sociales, obtenue toujours à Genève, elle devient directrice de l’Asile Elena Doamna, à Bucarest, et en cette qualité elle publie des ouvrages à contenu didactique, dont une méthode d’apprentissage du français, qui est parmi les premières de ce genre. Sa carrière d’écrivaine commence en 1883 avec une nouvelle parue sous le pseudonyme Marmil et continue par trois romans, le premier, Theano, paru en Roumanie et en France en 1919 et respectivement en 1921, le deuxième Cealaltă lumină (L’Autre Lumière), en 1944, un témoignage de l’accident à la suite duquel elle a perdu sa vue et le dernier Blandina (1980), qui est en fait le premier de ce cycle autobiographique. En dehors de cette activité dans le champ de la littérature, elle milite pour la littérature féminine, en publiant une anthologie intitulée Evoluţia scrisului feminin în România(Évolution de l’écrit féminin en Roumanie), s’intéressée aux arts, dirige pour une vingtaine d’année une institution qui organisait des projets culturels, La Maison d’Art, et exerce une importante activité charitable, surtout pendant la première guerre mondiale.La biographie de cette femme-écrivain, accompagnée par l’édition critique de son roman le plus connu constituent l’objet de la thèse que nous avons créée, mais pour que son œuvre et son activité si diverse et si complexe soient connues et appréciées par les générations futures, la recherche très laborieuse que nous avons réalisée dans les archives doit être élargie par un travail d’édition et de réédition. Continuer cette étude par une monographie, par une nouvelle édition du roman Blandine, par une édition d’œuvres nous semble un devoir pour les années à venir. / In the second half of the nineteenth century, women who dare to write and publish are still very few. Faced with a society that rejects them or treats them as blue bottoms, they are looking for solutions and those they find are either to hide under the appearance of men and publish under pseudonym, to be against, deepen the feminine and write a literature of the self: journal, autobiography, novel letter writer. Margareta Miller-Verghy (1865-1953), a writer ignored by literary histories, who is among the first French-speaking Romanian writers, begins her literary career publishing under pseudonym. Her novels, including the last one, "Blandina", appear posthumous and in Romanian translation testify to this literature with a strong autobiographical dimension. Her destiny goes back two centuries and can be considered representative for the path that the female writers travel from the time of contempt and mistrust of the nineteenth century to the full acceptance in the twentieth century.Margareta Miller-Verghy was born in Jassy, Romania, but spent her childhood and later her youth in Geneva, not only in a French environment, but also in a multilingual one. This explains her penchant for foreign languages and her talent as a translator, which she makes use of when translating into French the work of Mihail Eminescu, the greatest Romanian poet. After a bachelor's degree in Social Sciences, while still in Geneva, she became director of the Elena Doamna Asylum in Bucharest and in this quality she published books with didactic content, including a method of learning French, which is among the premieres of this kind. Her writing career began in 1883 with a short story published under the pseudonym Marmil and continued with three novels, the first, Theano, published in Romania and France in 1919 and respectively in 1921, the second "Cealaltă lumină" ("The Other Light"), in 1944, a testimony of the accident in which she lost her eyesight, and the last "Blandina" (1980), which is actually the first of this autobiographical cycle. Apart from this activity in the field of literature, she advocates for women's literature, publishing an anthology entitled "Evoluția scrisului feminin în România" ("Evolution of the female writing in Romania"). She is interested in arts, directs for twenty years an institution that organizes cultural projects, The House of Art, and has a significant charitable activity, especially during the First World War.In order for her work, which is so diverse and so complex, to be known and appreciated by future generations, the very laborious research we have carried out in the archives must be expanded by editing and re-editing. To continue this study with a monography, with a new edition of the novel "Blandine", with an edition of gathered works seems to us a duty for the years to come.

Com o intuito de contribuir para uma bibliografia ainda escassa de trabalhos que envolvem a edição de partituras, este trabalho apresenta uma edição musical crítica e revisada dos últimos nove noturnos para piano do compositor Almeida Prado, a partir de seus manuscritos originais. Uma partitura editada facilita a leitura do intérprete e contribui para a divulgação dessas obras. O trabalho de edição crítica é baseado em sugestões de James Grier, por meio de investigação sobre as fontes essenciais, como fatos históricos relacionados ao compositor e ao estilo da obra, estabelecendo critérios de revisão e edição. O processo de edição das obras pesquisadas teve o acompanhamento do compositor. A bibliografia baseia-se em assuntos inerentes ao material, à análise, à edição musical e história da música do século XIX e XX, além de Teses e Dissertações referentes à obra do compositor Almeida Prado. As partituras editadas, assim como os manuscritos utilizados, aparecem como anexo desta Dissertação. / In order to contribute to a still scarce bibliography of works that involve the edition of scores, this paper presents a critical and revised music edition of the last nine nocturnes for piano composer Almeida Prado, from its original manuscripts. An edited score facilitates the reading of the performer and contributes to the dissemination of those works. The work of the critical edition is based on suggestions by James Grier, through research into key sources, such as historical facts related to the composer and style of work, establishing criteria for reviewing and editing. The editing process was supervised by the composer. The bibliography covers issues related to material, analysis, editing music and music history of the nineteenth and twentieth century, thesis and dissertations concerning the work of the composer Almeida Prado. The edited scores, as well as the original manuscripts, appear as appendix to this dissertation.

O presente trabalho trata da investigação dos procedimentos composicionais utilizados no Concertino para Clarineta, de Francisco Mignone, por meio da identificação e da comparação das diversas fontes da obra em diálogo com a \"tradição oral\". Tem como objetivo elucidar questões técnicas observadas na partitura orquestral manuscrita e suas possíveis resoluções em virtude da performance. Para tanto, desenvolve conteúdo com vistas à produção de uma edição crítica da obra / The present work deals with the investigation of compositional procedures used in the Concertino for Clarinet by Francisco Mignone through the identification and comparison of different sources of the work in dialogue with the \"oral tradition\". Aims to clarify technical issues observed in handwritten orchestral score and their possible resolutions to the performance. For that, develops content in order to produce a critical edition of the work.

El maquiavelismo degollado est un défi lancé à tous les hommes de pouvoir tentés de suivre la voie pragmatique de Machiavel plutôt que celle tracée par l’Église catholique romaine ; son auteur, Claude Clément, fut alors considéré comme le plus radical des penseurs de l’anti-machiavélisme. Son œuvre n’a pourtant jamais été rééditée et reste mal connue probablement parce qu’elle est composée de trois textes publiés dans deux langues différentes et que sa version espagnole semble bien être une réécriture plutôt qu’une simple traduction. Parsemée de reproductions de documents, enrichie de nombreuses allusions, de citations parfois cachées, l’œuvre de Claude Clément se veut un recueil de la pensée politique de son temps. À l’aide de bases de données numériques, ce travail se donne pour objectif d’établir le texte du Maquiavelismo degollado dans sa diversité, d’expliquer les grands mécanismes de son évolution et de comprendre sa position dans le réseau des sources qui l’influencent. / El maquiavelismo degollado sounds as a challenge to all statesmen who could be tempted to follow the pragmatic way shown by Machiavelli rather than by the Roman Catholic Church. Then, Claude Clément was considered as a champion of the radical line in the anti-Machiavellian school of thought; however, the book has never been republished and, therefor, is not very well known. El maquiavelismo degollado is not a unique work knowing that three different books have been published, using two different languages and that the Spanish version really seems to be a re-written text rather than a simple translation. Scattered with reproductions of foreign documents, enriched with many allusions, quotations, some of them hidden away, this work seems to be a miscellany of political theories of its time. Using digital databases, this study attempts first to establish the text of El maquiavelismo degollado respecting its complexity, then to explain the main mechanism of its evolution from one version to the other and finally to determine how other works could have influenced it.

Com o intuito de contribuir para uma bibliografia ainda escassa de trabalhos que envolvem a edição de partituras, este trabalho apresenta uma edição musical crítica e revisada dos últimos nove noturnos para piano do compositor Almeida Prado, a partir de seus manuscritos originais. Uma partitura editada facilita a leitura do intérprete e contribui para a divulgação dessas obras. O trabalho de edição crítica é baseado em sugestões de James Grier, por meio de investigação sobre as fontes essenciais, como fatos históricos relacionados ao compositor e ao estilo da obra, estabelecendo critérios de revisão e edição. O processo de edição das obras pesquisadas teve o acompanhamento do compositor. A bibliografia baseia-se em assuntos inerentes ao material, à análise, à edição musical e história da música do século XIX e XX, além de Teses e Dissertações referentes à obra do compositor Almeida Prado. As partituras editadas, assim como os manuscritos utilizados, aparecem como anexo desta Dissertação. / In order to contribute to a still scarce bibliography of works that involve the edition of scores, this paper presents a critical and revised music edition of the last nine nocturnes for piano composer Almeida Prado, from its original manuscripts. An edited score facilitates the reading of the performer and contributes to the dissemination of those works. The work of the critical edition is based on suggestions by James Grier, through research into key sources, such as historical facts related to the composer and style of work, establishing criteria for reviewing and editing. The editing process was supervised by the composer. The bibliography covers issues related to material, analysis, editing music and music history of the nineteenth and twentieth century, thesis and dissertations concerning the work of the composer Almeida Prado. The edited scores, as well as the original manuscripts, appear as appendix to this dissertation.

O presente trabalho trata da investigação dos procedimentos composicionais utilizados no Concertino para Clarineta, de Francisco Mignone, por meio da identificação e da comparação das diversas fontes da obra em diálogo com a \"tradição oral\". Tem como objetivo elucidar questões técnicas observadas na partitura orquestral manuscrita e suas possíveis resoluções em virtude da performance. Para tanto, desenvolve conteúdo com vistas à produção de uma edição crítica da obra / The present work deals with the investigation of compositional procedures used in the Concertino for Clarinet by Francisco Mignone through the identification and comparison of different sources of the work in dialogue with the \"oral tradition\". Aims to clarify technical issues observed in handwritten orchestral score and their possible resolutions to the performance. For that, develops content in order to produce a critical edition of the work.

This dissertation is divided into two parts. The first is a critical study of the Dravyasamuddeśa, a chapter from the Vākyapadīya of Bhartṛhari, a 5th-century Sanskrit philosopher of language. It also deals with the 10th-century commentary of Helārāja, which was highly influential in shaping the interpretation of the text by later authors. Although the Vākyapadīya is a treatise on Sanskrit grammar, and this particular chapter purports to deal with the grammatical category of dravya, in the Dravyasamuddeśa, Bhartṛhari is mostly concerned with establishing a non-dual theory of reality. Helārāja, five centuries later, defends this theory and attempts to re-interpret other schools of thought, namely Buddhism and Sāṃkhya, in its terms. The second part of the dissertation is a critical edition and annotated translation of the Dravyasamuddeśa and the commentary. It also describes the making of the edition - for this project, an open source software package was developed to automatically collate diplomatic transcriptions of manuscript witnesses in order to generate an apparatus variorum. The resulting apparatus forms part of an interactive, online digital edition of the text, from which the printed edition is generated.

The present thesis consists of an edition of an Iranian literary work whose theme is a journey to the Other World, namely the Ardāy-Vīrāf Nāma. The version of this work which is here edited and commented on is a prose version in the Zoroastrian Persian language. A discussion about Iranian conceptions of the Other World is also an integrated part of the thesis. The text of the Ardāy-Vīrāf Nāma is edited employing a text critical method by using six manuscripts. The oldest manuscript, which has been used as the base manuscript for editing the text, was written in 896 A.Y. (Yazdgirdī)/1527 A.D. The edited text is also translated into English, and followed by a Commentary on names, unusual words and Zoroastrian terms used in the text. Other Iranian documents about journeys to the Other World are studied in this thesis as well, and all are compared to the Ardāy-Vīrāf Nāma. The Zoroastrian Persian version of this work is also compared to its Parsig version. The differences between the Zoroastrian Persian and the Parsig versions indicate that they have their background in two different world views. To prove this theory, some significant elements in the Zoroastrian Persian version, which demonstrate that this is a pre-Zoroastrian epic narrative, have been compared to some elements in the Parsig version that show that this is a religious Zoroastrian account. Possible reasons for the change in Ardāy-Vīrāf Nāma from a pre-Zoroastrian epic narrative into a Zoroastrian-religious one are also suggested. A king named Davānūs is one of the Ardāy-Vīrāf Nāma personages. In an appendix, the historical personality of Davānūs is discussed with reference to Arabic, Persian and Greek historiography.