Sono noti da tempo i frammenti epici (Chanson d’Aspremont, Gui de Bourgogne, Anseïs de Carthage) provenienti dall’abbazia di Sées. L’articolo, discutendo due recenti edizioni, dà conto del ritrovamento di nuovi frammenti delle tre canzoni provenienti dagli stessi manoscritti di Sées e fornisce l’edizione di quelli relativi a Gui e Anseïs.
The epic fragments (Chanson d’Aspremont, Gui de Bourgogne, Anseïs de Carthage) from the abbey of Sées have long been known. The paper comments on two recent editions, gives an account of the discovery of new fragments of the three songs from the same Sées manuscripts and provides an edition of those relating to Gui and Anseïs.
Aquest estudi reflexiona una vegada més sobre les festes organitzades amb motiu de la coronació del rei Alfons III a Saragossa per la Pasqua de 1328, que tanquen la narració de la Crònica de Ramon Muntaner, per intentar penetrar més profundament en la comprensió dels fets i aportar una contextualització històrica més precisa, també gràcies a la comparació amb la documentació d’arxiu. L’anàlisi que presento, a més de ser un cas d’estudi precís i específic, també proporciona l’oportunitat de formular reflexions més generals i metodològiques sobre les fonts d’informació, les seves característiques, i com afrontar l’anàlisi de fets, tant històrics com culturals, amb la necessària interconnexió de fonts diverses. Per fer-ho, analitzo la personalitat dels quatre protagonistes de les festes, els joglars Comí, Novellet i Ramasset, i l’infant Pere, comte de Ribagorça i Empúries, que les va organitzar, proposant una revisió necessària de la qualitat i entitat de la relació de l’infant amb les lletres, una vegada passats els anys de joventut, esperant arribar a una percepció crítica més propera als fets.
This study once again reflects on the festivities organized on the occasion of the coronation of King Alfonso III in Zaragoza on Easter in 1328, which close the narrative of the Chronicle of Ramon Muntaner, to try to penetrate more deeply into the understanding of the facts and provide a more accurate historical contextualization, also thanks to the comparison with archive’s documentation. The analysis I present, in addition to being a precise and specific case study, also provides the opportunity to formulate more general and methodological reflections on the sources of information, their characteristics, and how to face the analysis of facts that are both historical and cultural with the necessary interlinking of diverse sources. To do this, I analyze the personality of the four protagonists of the festivities, the minstrels Comí, Novellet and Ramasset, and the Infant Pere, Count of Ribagorça and Empúries, who organized them, proposing a necessary review of the quality and entity of the relationship of the Infant with the letters, once the years of youth have passed, hoping to reach a critical perception closer to the facts.
Il Reinbert è un romanzo cavalleresco in prosa risalente al XIII secolo e assegnabile all’area Piccardo-Artesiana. Giuntoci in attestazione unica (Paris, Bibliothèque de l’Arsenal, 3516, cc. 350r-357v), anonimo e incompleto, è stato oggetto di numerati lavori critici dai quali non sono ancora emersi il profilo complessivo dell’opera e l’ideologia soggiacente. Il contributo esamina il primo episodio avventuroso di cui il cavaliere è protagonista e che lo vede al contempo salvatore di una fanciulla immersa nuda in una fonte e avvinta da un serpente e partecipe di un suo sogno. Lo scopo è di ricavare elementi contenutistici, letterari e di concetto utili a un primo inquadramento del testo in una corrente romanzesca e culturale.
The Reinbert is a chivalric prose romance dating back to the 13th century and assignable to the Picardo-Artesian area. It has reached us in a single manuscript (Paris, Bibliothèque de l’Arsenal, 3516, cc. 350r-357v), anonymous and incomplete and it has been the subject of a few critical works from which the overall profile of the work and the underlying ideology have not yet emerged. The contribution examines the first adventurous episode in which the knight is the protagonist, where he is at the same time the savior of a girl immersed naked in a fountain and gripped by a snake and a participant in her dream. The aim is to obtain content, literary and conceptual elements useful for a first framing of the text in a romance and cultural current.
L’article présente les éditions diplomatique et interprétative d’une pièce lyrique de quinze vers répartis en trois strophes, qui s’ouvre sur le vers: Li rois amur, Deus !, cum est de gran virtu. La poésie, inédite et jusqu’ici inconnue des romanistes, a été copiée par un scribe germanophone dans un manuscrit latin daté de la fin du XIIe siècle, aujourd’hui conservé à la Bibliothèque nationale de la République tchèque. L’étude fournit le commentaire formel et littéraire de la poésie, d’argument amoureux et inspiration courtoise, mais lointaine des thèmes et des ressources métriques typiques de la lyrique des troubadours et des trouvères. L’étude est enrichie par la description du manuscrit de Prague, par l’analyse de la main responsable du texte vernaculaire, et par l’examen approfondi de la langue de celui-ci.
The article presents the diplomatic and interpretative editions of an unpublished and unknown lyric text in Old French, partially notated, whose incipit reads Li rois amur. The study of the Prague manuscript that transmits the lyric allows to trace the copy back to a scholastic milieu of the late 12th-early 13th century. Paleographic and linguistic data converge towards a German-speaking scribe, who seems to have worked on an Eastern French model. The phonetic, morphological and lexical data support the hypothesis of an original text composed in Lorraine or Franche-Comté. The lyric poem, in 3 stanzas of 5 mono-rhymed verses, is of evident courtly inspiration, but differs significantly from the poetic tradition of troubadour ancestry.
En este artículo se muestra cómo se aplican las diversas herramientas digitales en 7PartidasDigital, un proyecto cuyo objetivo es ofrecer la edición crítica digital de las Siete Partidas. En primer lugar, se presenta, someramente, cómo se preparaba una edición a la luz del manual de Blecua y qué partes del proceso se pueden digitalizar, de acuerdo con el esquema que se deriva de Driscoll y Pierazzo: localización de testimonios, digitalización de los testimonios, transcripción de los textos, análisis de los datos, colación y, por último y fuera de la lista, ayudas para la examiantio y la selectio. En un interludio, entre el modelo tradicional (Blecua) y el esquema de Driscoll y Pierazzo, se discute la expresión edición digital académica, traducción directa del Digital Scholarly Editing.
This article shows how the various digital tools are applied to 7PartidasDigital, a project whose objective is to offer the digital critical edition of the Siete Partidas, a code of laws established and composed under the aegis of king Alfonso X. Firstly, it is briefly presented how an edition was prepared in light of Blecua’s manual and what parts of the process can be digitized, according to the scketch offered by Driscoll and Pierazzo: locating primary sources, digital images, transcription of text, crunching the data, automatic collation and, finally, but out of the list, aids for the examinatio and the selectio. In an intermission between the traditional approach (Blecua) and the digital scheme outlined by Driscoll and Pierazzo, is discussed the expression edición académica digital, a direct translation of Digital Scholarly Editing.
L’applicazione dell’informatica alla filologia è spesso presentata come l’avvento di un nuovo paradigma, anche se in molti casi non fa che esasperare alcune tendenze già presenti nella filologia pre-digitale, creando d’altra parte vincoli procedurali che pongono un serio problema di rapporto costi-benefici. Inoltre, la filologia digitale vive ancora una fase di sviluppo caotica, in cui la moltiplicazione dei progetti e delle applicazioni è inversamente proporzionale alla loro aspettativa di vita. L’articolo propone un approccio alla filologia digitale che sia piú funzionale a rispondere alle esigenze della filologia e nello stesso tempo offra un modello di sistema, nel quale i filologi possano condividere dati e metadati. Per i testi italiani medievali questo approccio è favorito dall’esistenza del Corpus OVI, potenziale base di sviluppo per la creazione di una biblioteca di edizioni digitali.
The use of IT in philology is often presented as the advent of a new paradigm, although in many cases it merely exacerbates certain trends already present in pre-digital philology, while creating a number of procedural constraints that raise a serious cost-benefit problem. Moreover, digital philology is still in a chaotic phase of development, where the multiplication of projects and applications is inversely proportional to their life expectancy. The article proposes an approach to digital philology that would be more functional in meeting the needs of philology and at the same time would offer a system model in which philologists can share data and metadata. For medieval Italian texts, this approach is facilitated by the existence of the Corpus OVI, a potential development base for the creation of a library of digital editions.
Plus qu’une simple poursuite des questionnaires philologiques actuels par d’autres moyens, la philologie computationnelle peut, dans certains contextes, amener des déplacements ou des transformations dans les paradigmes de recherche en sciences des textes. Sans sortir du paradigme évolutionniste qui remonte aux origines de la discipline, la philologie peut ainsi reprendre à son compte des approches méthodologiques articulant démarche de test d’hypothèse, modèles et analyse de données. La massification des données permise par l’intelligence artificielle ouvre des perspectives d’analyse nouvelles, propice aux études macrostructurelles, comparatistes ou de longue durée.
A century has passed since Joseph Bédier observed the ‘bifidity’ of textual evolutionary trees (stemmata). A fundamental debate has developed around this observation, opposing the Bédiérist thesis of a methodological bias with that of law resulting of the process of text transmission. This article, focusing on the langue d’oïl domain, returns to this question of the ‘evolution’ of textual traditions, which is shown to be related to a more general problem specific to all the trees traced by evolutionary disciplines, that of ‘unbalanced trees’, well known in the Darwinian paradigm. I discuss how philology can be understood as a science of the evolution of texts, and how its fundamental problems can profitably be tackled with the support of computational methods. These methods can be used to test hypotheses, by combining modelling and data analysis, and by taking advantage of interdisciplinarity. The resources of artificial intelligence can also be mobilised to base these approaches on increasingly vast corpora, encouraging studies on a scale not previously envisaged.