Roberto Arlt is considered one of the most important Argentine writers of the first half of the 20th century. Despite his fame as a novelist and author of etchings, his rich production of dramatic ...works remains little known and little performed on stage in Argentine and international theaters. With this volume we try to alleviate this partial oblivion through the critical edition of one of his most important theatrical pieces: Africa. The edition compares the text published so far with the typewritten version found in the Ibero-Amerikanisches Institut in Berlin and which is part of the Arlt legacy of that institution. But the volume is more than a mere traditional critical edition, since, apart from the two versions, it includes a series of materials that facilitate the understanding of the text and the context through its paratexts. The importance of the piece within Arlt's theatrical production is perceived when considering the number of these paratexts, which include several stories, etchings and photographs that are based on the writer's trip to Europe and North Africa in 1935. All They indicate important changes in the perception of both Argentine society and foreign culture by Arlt himself, a perception that functions as a mirror to understand one's own.
This review concerns the first volume of the “Edizione nazionale delle opere musicali di Giuseppe Tartini” (“National edition of the musical works of Giuseppe Tartini”), which consists of L’arte ...dell’arco, edited by Matteo Cossu. This is a famous collection of variations for violin based on a gavotte by Arcangelo Corelli. The volume offers a critical edition of Tartini’s variations and provides information on the sources and reception of an important text for violin didactics.
En este artículo se analizan algunos aspectos referentes a la edición crítica de La vida del pícaro, con especial atención al cotejo de las variantes de los seis testimonios conservados y a la ...autoría de la obra, que por el momento permanece anónima. Este trabajo también trata de mostrar la dificultad que presenta esta obra para poder ser editada, aportando datos sobre los testimonios que ayuden a establecer una correcta fijación textual.
In this article, some aspects related to the critical edition of La vida del pícaro are analyzed, with special attention to the comparison of the variants of the six preserved testimonies and to the ...authorship of the work, which for the moment remains anonymous. This work also tries to show the difficulty of this work to be edited, providing data on the testimonies that help establish a correct textual fixation.
Heine, a Putative French Writer? Both during and after Heine’s lifetime, his French reception posed and re-posed the problem of his literary “nationality”: was he a “French writer” or “German poet”? ...The question also underlies the two major existing critical editions known as “Düsseldorfer Ausgabe” and “Weimarer Ausgabe”. Paradoxically, and even more than Germanistik in Germany, German Studies in France seem to have long favored, in various ways, a “German” Heine to the detriment of the “French” Heine. Perhaps it is time to have a more balanced approach to Heine, using for example the notion that Heine himself developed for one of his texts, of a “German book in the French language”. These considerations lead us to define Heine as a “putative French writer”, in addition to his lasting identity as a “German poet”.
Tematem artykułu są zagadnienia związane z powstaniem i wydaniem Zbioru rytmów duchownych, moralnych, panegirycznych i światowych (1752) Elżbiety Drużbackiej. Omówione zostały okoliczności, w jakich ...Skarbnikowa nawiązała kontakt z braćmi Załuskimi, etapy prac nad przygotowaniem tomu do druku, a także działania Józefa Andrzeja Załuskiego, mające na celu promocję książki. Została także przedstawiona skomplikowana sytuacja drukarska, związana z edycją z 1752 r., oraz wskazane trudności, z jakimi będzie musiał się zmierzyć przyszły wydawca tekstów Drużbackiej.
This essay discusses the story of the critical edition of Nietzsche’s complete works by Giorgio Colli and Mazzino Montinari as presented in Philipp Felsch’s book
. The book, which is based on ...biographical material of the two editors, takes up an important episode in European intellectual history in its political, cultural historical context. However, it often presents a questionable use of these sources. A closer examination of that the same source material would situate the history of the edition and its editors in a different context. Likewise, Felsch’s account of the history of Nietzsche’s reception in France, and his reception in the neighboring countries, lacks nuance and reveals some remarkable examples of misreading. Like in other genres of history, scholars of discourse history and intellectual history need to read sources closely and critically. When we talk of dealing with primary sources, the work that editors have done in commentaries and editions should be taken into account. Finally, I argue that we should not dismiss recent innovations in editing methods as confusing or “vulcano-like,” but we would do well to appreciate the opportunities offered by the digital humanities, both for a professional readership and a wider audience.
In light of the various types of editions that can exist, both on paper and digitally, this contribution emphasizes the importance of identifying some scientifically recognizable and shared criteria ...to define the identity and character of a ‘critical’ edition. Based on the Observatory on Critical Editions of the University of Milan's reflections and experience, it then proposes introducing the same criteria, while taking into account the diversity of media, also in the evaluation of digital critical editions.
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